Viewer Mode
Single View
Reader Pane
Triple View
Open in New Tab
21 verso
22 recto
531
1910 konec
1911 jaro poč[átek] plátno, olej
hněď, čerň, běl a šeď. trochu okru
a Sieny. Celkový ton ponurý,
hluboký. Barva citlivě nanášena
malými údery štětce. Často plátno ponecháno.
Krásná věcička hlubokého prostoro-
vého života. než levá strana ne
úplně rozřešena.
Zvláštní rezavé tony.
Hluboké chiaroscuro a krystalinické
formy.
1
Glass and Cup, 1911. Oil on canvas, 10 5/8 x 13 3/4 in. (27 x 35 cm). Private collection. Illustrated in Ausstellung Pablo Picasso, exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 53
562
1910‒11 plátno, olej
Světlejší, šedivější než 53
Jinak tytéž bary: běl, šeď, čerň,
okr, Siena
Skrvnité, citlivé, skvrny ale nejsou
jednotné plošky co Seurat, světlé
nebo temné kraje. Neklidné
třepotavé (světlo!) Místy plochy
větší, měkce klidné. Kontrast
2
Woman Playing the Violin, 1911. Oil on canvas, 36 1/4 x 25 5/8 in. (92 x 65 cm). Staatsgalerie Moderne Kunst, Pinakothek der Moderne, Munich. Identification: Pierre Daix and Joan Rosselet, Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works (Boston: New York Graphic Society, 1979), no. 393
643
1911, jaro.
trochu přepracovaný, těžký, více
okru a Sieny než 56. Zde
všechny možné techniky štětce.
klouzavé plochy, prostorně malované a
ostře nanesené útržky. Do sebe malované
ne vedle co Seurat.
3
The Mandolin Player, 1911. Oil on canvas, 39 5/8 x 27 3/8 in. (100.5 x 69.5 cm). Fondation Beyeler, Basel, Sammlung Beyeler. Identification: Pierre Daix and Joan Rosselet, Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works (Boston: New York Graphic Society, 1979), no. 425
21 verso
22 recto
531
1910 end
1911 spring beg[inning] canvas, oil
brown, black, white and gray. some ocher
and sienna. Overall tone gloomy,
deep. Paint sensitively applied
with small strokes of brush. Often canvas left [blank].
Beautiful little piece of intense spa-
tial life. though left-hand side not
fully resolved.
Peculiar rusty tones.
Deep chiaroscuro and crystalline
forms.
1
Glass and Cup, 1911. Oil on canvas, 10 5/8 x 13 3/4 in. (27 x 35 cm). Private collection. Illustrated in Ausstellung Pablo Picasso, exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 53
562
1910‒11 canvas, oil
Lighter, grayer than 53
Otherwise same colors: white, gray, black,
ocher, sienna
Spotted, sensitive, but spots not
the unified fields of Seurat, light
or dark edges. Restless
tremulous (light!) In places fields
larger, softly peaceful. Contrast
2
Woman Playing the Violin, 1911. Oil on canvas, 36 1/4 x 25 5/8 in. (92 x 65 cm). Staatsgalerie Moderne Kunst, Pinakothek der Moderne, Munich. Identification: Pierre Daix and Joan Rosselet, Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works (Boston: New York Graphic Society, 1979), no. 393
643
1911, spring.
somewhat overwrought, heavy, more
ocher and sienna than 56. Here
all possible brush techniques.
gliding surfaces, spaciously painted and
sharply applied fragments. Painted into one another
not side by side as in Seurat.
3
The Mandolin Player, 1911. Oil on canvas, 39 5/8 x 27 3/8 in. (100.5 x 69.5 cm). Fondation Beyeler, Basel, Sammlung Beyeler. Identification: Pierre Daix and Joan Rosselet, Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works (Boston: New York Graphic Society, 1979), no. 425
This research tool is optimized for larger screens.
If you would like to use it, please view it in a larger window.
If you would like to use it, please view it in a larger window.