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Le Repos IV, Signed/Dated Picasso 8 Mai 47 'dans la planche'. Numbered in Pencil
Mid 20th Century

$4,023.85List Price

About the Item

French lithograph reproduction of number IV of the Le Repos series created in 1947 by Pablo Picasso. Though the date of this work is not known the paper type and markings infer that it is probably mid century. The work is signed and dated 'dans la planche' and numbered 13 from an edition of 200 in pencil. The work also carries a watermark 'ceci est une reproduction' also signed 'Picasso' in the watermark. The work also carries another watermark to the bottom left edge of a 'crowned heart' and writing currently indecipherable. There is also an annotation and further signature to the back of the paper. This work is possibly a glass plate 'collotype' etching. A really charming scene, simplicty of line but power of image, so characteristic of the drawings of Picasso. In 1946, Picasso began a new relationship with the young artist Françoise Gilot. Her presence in Picasso’s life ushered in a period of immense change and renewal, and he often depicted her as a blooming flower. They had two children together and moved from Paris to Vallauris, in the south of France. There Picasso’s paintings underwent a gentle transformation that coincided with a new inventiveness in prints and ceramics. This original drawing for this image was created by Picasso in the early summer of 1947, at a time when the artist divided his time between his studio in Paris and Golfe-Juan near Cannes. Picasso and his mistress Françoise Gilot spent much time in Villa Pour Toi, a countryside villa owned by Louis Fort, a retired artisan-engraver and a close friend of Picasso. Between the years of 1946 and 1947, Picasso produced a wide range of paintings and drawings, many of which were greatly inspired by his rival and long-time friend Henri Matisse. The inspiration from the Fauvist master can clearly be seen in Le repos. The two artists had a very complex yet fulfilling relationship that lasted until the death of Matisse in 1954. Picasso regularly visited Henri Matisse in Le Rêve, his villa in Vence, and did so together with Françoise Gilot only months before he made the drawing Le repos. The art collector and American avant-garde writer Gertrude Stein was the first to introduce Picasso to Matisse and even though they seemed to have very little in common, by the time they met, they were intrigued by one another and from then on often urged each other to paint the same subjects and even name their works of art the same titles. Matisse created several similar versions of Le repos, both drawings and lithographs, showing a nude woman with her arms above her head in a reclining or seated position. Both artists created their drawings by using only a few and very fine lines, yet the expressions of the figures are ever present. They shared a mutual respect for each other’s works and interpretations and sometimes even exchanged their paintings and drawings. “You have got to be able to picture side by side everything Matisse and I were doing at that time. No one has ever looked at Matisse’s painting more carefully than I; and no one has looked at mine more carefully than he” (Gyula Brassai, Picasso and Company, 1966). Matisse’s opinions on Picasso’s works played a considerable role in his continuing development as an artist. Even during his later years, Picasso thought very highly of his friend and said about him; “All things considered, there is only Matisse”. Picasso executed a series of drawings within the theme of the two lovers in similar poses during the 1940s. On the same day, 8 May 1947, he created eight drawings with a woman sitting beside her sleeping lover. The use of only a few lines and a black and white composition creates the impression of fragility but above all, it shows the artist's deep understanding for beauty evolving from the simplest of things. Picasso’s drawings are very intimate means of expression and his favourite subjects were often nude models and he especially enjoyed capturing the female body. The many different versions of his resting figures have often also become subjects for graphical works. In the first half of 1947, Picasso completed over fifty lithographs in eight months. The two lovers, one seated in contemplation and the other lies asleep, was a recurring theme in Picasso’s oeuvre. The lithograph Femme Assise et Dormeuse is directly related to the drawing Le repos and was printed the same year as Picasso created the drawing. The image of the lithograph is reversed compared to the drawing, but the positions and gestures of the figures are related to one another. A woman is sitting with her arms around her knees, watching the sleeping person next to her in silence. The sleeping figure is resting with one arm above the head and with the other one positioned underneath the head for support. The figures in the drawing are both nude compared to the dressed seated woman in the lithograph, and their full bodies are presented by the simplest of lines. Another printed example of resting figures from the year of 1947 is La Dormeuse. This lithograph also shows a reversed image compared to the drawing, but the figural composition is almost identical. The prints related to the drawing are richer in colour but were created with the same fine contours as the drawing. Undoubtedly, the theme of the loving couple and the intimate moment between them became a very important study and inspiration for many of Picasso’s graphical works.

Creation Year:
Mid 20th Century
Dimensions:
Height: 16 in (40.64 cm)Width: 20 in (50.8 cm)Depth: 0.5 in (1.27 cm)
Medium:
Paper,Ink
Movement & Style:
Modern
After:
(after) Pablo Picasso (1881 - 1973, Spanish)
Period:
Mid-20th Century
Condition:
Good condition commensurate with age, some discoloration and 'nibbling' to the paper margins not visible once framed. Small part of top right corner missing, not visible once framed.
Gallery Location:
Cotignac, FR
Reference Number:
Seller: LG/Picaso/Repos1stDibs: LU1430211073102

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