When France entered World War I in August 1914, Picasso, a Spanish national, was not required to serve. He expressed his patriotic sentiments for his adopted country by indirect allusion, as seen at left in the white souvenir cup with its crossed flags. Seemingly nothing is somber in this riotously colorful array, from the bottle of the raffia-encased La Negrita rum to the flocked wallpaper to the pear or pears at far right. Even the dotted vessel at center seems full of energy. Only the uncanny shadow of a bottle on the back wall casts a disquieting note.
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Arts Club of Chicago. "Exhibition of the Sidney Janis Collection of Modern Paintings," April 5–24, 1935, no. 5 (as "Vive La France").
New York. Museum of Modern Art. "Summer Exhibition: The Museum Collection and a Private Collection on Loan," June 4–September 24, 1935, no catalogue.
New York. Museum of Modern Art. "Picasso: Forty Years of His Art," November 15, 1939–January 7, 1940, no. 122 (as "Still Life: 'Vive la . . . ,'" 1914).
Art Institute of Chicago. "Picasso: Forty Years of His Art," February 1–March 5, 1940, no. 122.
New York. Museum of Modern Art. "Paintings from New York Private Collections," July 2, 1946–September 22, 1946.
New York. Sidney Janis Gallery. "5th Anniversary Exhibition," September 29–October 31, 1953, no. 46 (as "Vive la France").
New York. Saidenberg Gallery. "Picasso: An American Tribute. Cubism," April 25–May 12, 1962, no. 20 (as "Still Life with Playing Cards, Glasses and Bottle of Rum ['Vive la . . . ']").
Washington, D.C. National Gallery of Art. "100 European Paintings & Drawings from the Collection of Mr. and Mrs. Leigh B. Block," May 4–June 11, 1967, no. 38 (as "Still Life: Vive la France").
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Boston. Museum of Fine Arts. "One Hundred European Paintings & Drawings from the Collection of Mr. & Mrs. Leigh B. Block," February 2–April 14, 1968, no. 38.
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New York. Sidney Janis Gallery. "25 Years of Janis: From Picasso to Dubuffet, from Brancusi to Giacometti," October 2–November 3, 1973, no. 94 (as "Vive La France").
New York. Museum of Modern Art. "Pablo Picasso: A Retrospective," May 22–September 16, 1980, unnumbered cat. (p. 176).
New York. Museum of Modern Art. "Picasso and Braque: Pioneering Cubism," September 24, 1989–January 16, 1990, unnumbered cat. (p. 332).
Kunstmuseum und Kunsthalle Basel. "Transform: BildObjektSkulptur im 20. Jahrhundert," June 14–September 27, 1992, no. 32.
Philadelphia Museum of Art. "Mad for Modernism: Earl Horter and His Collection," March 7–May 16, 1999, unnumbered cat. (pl. 46).
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Centre Pompidou, Paris, Galerie 1. "Le Cubisme," October 17, 2018–February 25, 2019, unnumbered cat. (p. 211; as "Cartes à jouer, verres, bouteille de rhum 'Vive La France'”).
Christian Zervos. "De l’importance de l’objet dans la peinture d’aujourd’hui (III)." Cahiers d’Art 5 (1930), ill. p. 237, as "Composition," 1912.
100 European Paintings and Drawings from the Collection of Mr. and Mrs. Leigh B. Block. Exh. cat., National Gallery of Art. Washington, D.C., 1967, unpaginated, no. 38, ill.
H. H. Arnason. History of Modern Art: Painting, Sculpture, Architecture. New York, [1968], p. 326, fig. 522, as "Vive La France," 1914.
100 European Paintings and Drawings from the Collection of Mr. and Mrs. Leigh B. Block. Exh. cat., Museum of Fine Arts. Boston, 1968, unpaginated, no. 38, ill.
Francine du Plessix. "The Flawless Eye: Mary and Leigh Block." The Collector in America. Ed. Jean Lipman. New York, 1970, p. 112, ill. p. 113 (on display in the residence of Leigh B. and Mary Block, Chicago), as "Vive La France".
Douglas Cooper. The Cubist Epoch. Exh. cat., Los Angeles County Museum of Art. London, 1970, pp. 210, 303, no. 247, pl. 243.
Franco Russoli and Fiorella Minervino. L'opera completa di Picasso cubista. Milan, 1972, p. 119, no. 675, ill. p. 120, as "Vive la France," 1914.
Twenty-five Years of Janis. Pt. 1, From Picasso to Dubuffet; from Brancusi to Giacometti. Exh. cat., Sidney Janis Gallery. New York, 1973, unpaginated, no. 94, ill.
Winthrop Judkins. Fluctuant Representation in Synthetic Cubism: Picasso, Braque, Gris, 1910–1920. PhD diss., Harvard University. New York, 1976, pp. 143, 149, 168, 173, 320, 332, no. Z-P 12-17, pl. 523, ill. p. 384, as 1914.
H. H. Arnason. History of Modern Art: Painting, Sculpture, Architecture. Rev. and enl. ed. New York, 1977, p. 334, fig. 531, as "Vive La France," 1914.
Françoise Cachin and Fiorella Minervino. Tout l'oeuvre peint de Picasso, 1907–1916. Paris, 1977, p. 119, no. 675, ill. p. 120, as 1914.
William Rubin, ed. Picasso and Braque: Pioneering Cubism. Exh. cat., Museum of Modern Art. New York, 1989, ill. p. 332 (German ed., 1990, fig. 427; French ed., 1990, and Spanish ed., 1991, ill. p. 326).
Kenneth E. Silver. Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War, 1914–1925. Princeton, 1989, p. 36, fig. 17.
Leo J. O'Donovan. "To Find Originality." America 161, no. 13 (November 4, 1989), p. 300.
Josep Palau i Fabre. Picasso: Cubism, 1907–1917. New York, 1990, pp. 420, 520, no. 1256, ill. p. 422, as "Bottle of 'Negrita' Rum".
Sarah Gossa Kaiser inTransform: BildObjektSkulptur im 20. Jahrhundert. Ed. Theodora Vischer. Exh. cat., Kunstmuseum Basel and Kunsthalle Basel. Basel, 1992, p. 48, ill. p. 41.
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John Richardson with the collaboration of Marilyn McCully. A Life of Picasso. Vol. 2, 1907–1917. New York, 1996, p. 350, ill. p. 351.
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Innis Howe Shoemaker, with Christa Clarke, and William Wierzbowski. Mad for Modernism: Earl Horter and His Collection. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1999, pp. 38 [erroneously identified as this work], 52, 62–63 nn. 182, 206, p. 181, ill. p. 12, fig. 2 (on display in the residence of Earl Horter, Philadelphia, ca. 1929–30), pl. 46.
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Anna Jozefacka and Luise Mahler inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 300–301, fig. 78 (on display in the residence of Leigh B. and Mary Block, Chicago, ca. 1970).
Emily Braun and Leonard A. Lauder inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, p. 9, fig. 7 (on display in the residence of Leonard A. Lauder, New York, 1987).
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Patricia Leighten inPicasso and Rivera: Conversations Across Time. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 2016, p. 149 n. 7, ill. p. 138 (color).
Neil Cox in Christopher Green , with a contribution by Neil Cox. Cubism and War: The Crystal in the Flame. Exh. cat., Museu Picasso. Barcelona, 2016, p. 78.
Jose Segal. "Positive and Negative Integration: The First World War in France and Germany." Art and Politics: Between Purity and Propaganda. Amsterdam, 2016, pp. 17–18.
Christopher Green in Christopher Green , with a contribution by Neil Cox. Cubism and War: The Crystal in the Flame. Exh. cat., Museu Picasso. Barcelona, 2016, p. 26.
Elizabeth Cowling. "Papiers peints." Dictionnaire du Cubisme. Ed. Brigitte Leal. Paris, 2018, p. 565.
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Emily Braun in Emily Braun and Elizabeth Cowling. Cubism and the Trompe l’Oeil Tradition. Exh. cat., The Metropolitan Museum of Art. New York, 2022, pp. 28, 159, 248, colorpl. 97.
Elizabeth Cowling in Emily Braun and Elizabeth Cowling. Cubism and the Trompe l’Oeil Tradition. Exh. cat., The Metropolitan Museum of Art. New York, 2022, p. 179.
Pablo Picasso (Spanish, Malaga 1881–1973 Mougins, France)
1921
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