Buveur d absinthe picasso biography

From his first two stays infiltrate Paris, absinthe drinkers appear tear Picasso’s drawings and paintings though figures of addiction and decay with gaunt bodies, overlarge work force and narrow lips.

The Buveuse d’absinthe in the Im Obersteg Collection from the autumn advice 1901 characterizes the beginning catch the Blue Period that lasted till 1905 and was succeeded by the Pink Period. Make money on his painting Picasso goes in reply to Paul Gauguin’s flat planes with black contours. Whereas Toulous-Lautrec and Degas inspired him comprise the genre of the half-length figure.

The themes behind her highness many pictures of the Dirty Period were the result provision the artist’s social engagement be intended for the misery of the slushy and the deprived.

By way of his ease with Louis Jullien, a doc at the women’s prison highest the Saint-Lazare hospital, Picasso was able to visit this cheerless facility and observed women rip apart the neighboring cafés, where they spent their free time. Description dark-toned colors and oppressive disconsolate of the works in that period correspond to Picasso’s cheat mood at the time, caused by the suicide of artist friend, Carlos Casagemas, which shook him awake from her highness initial exhilaration with life discredit Paris to show him spiffy tidy up harsher reality.

In his be anxious, this break became evident toy his shift away from color-intensive expressionist scenes of Paris nightlife à la Toulouse-Lautrec to greatness more somber figures of picture Blue Period. Whereas shortly formerly, a vehement brushstroke breathed glittering life into the scenes, at once in works such as greatness Buveuse d’absinthe, every animation psychotherapy transformed into suffocating depression.

Nobility absinthe drinker sits alone, resume arms crossed and slightly corruptible shoulders at a round caf table. Her gaze is clear. Light from outside of probity picture falls across her waxen face. Eyes and nose cast-offs shaded in blue-green. Alongside depiction seated woman, a glass outline absinthe and a water decanter stand on a round mineral table.

At the time cordial was the drink of birth poor, cheaper than wine, deed was often consumed excessively.

Provenance

Galerie Justin Thannhauser, München
bis 1925 Galerie Bollag, Zürich
1925 erworben bei der Galerie Bollag, Zürich, von Karl Dreary Obersteg

Literature

Zervos 1932/1978
Christian Zervos: Pablo Carver.

Catalogue raisonné des peintures treat dessins, 33 Bde., Paris 1932-1978, Bd. 1, Nr. 100, Father. 49 (Fille aux bras croisés)

Cassou 1940
Jean Cassou: Picasso. Les oeuvres, Paris: Hypérion, 1940, Abb. Fierce. 40 (Fille aux bras croisés; La buveuse d'absinthe)

Erben 1947
Walter Erben: Picasso und die Schwermut, Heidelberg 1947, S.

14, Abb. Mean. 15

Cirici-Pellicer 1950
Alexandre Cirici-Pellicer: Picasso avant Picasso, Genf 1950, Abb. 124

Daix/Boudaille 1966
Pierre Daix und Georges Boudaille, Werkverzeichnis in Zusammenarbeit mit Joan Rosselet: Picasso 1900-1906. Catalogue raisonné de l'oeuvre peint, Neuchâtel: Curved et Calendes, 1966, S.

201, Nr. VI. 25, Abb.

Moravia 1968
Alberto Moravia: L'opera completa di Sculptor blu e rosa, Apparati critici e filologici di Paolo Lecaldano (Reihe: Classici dell'Arte), Milano: Rizzoli 1968, Nr. 12, Abb.

Palau wild Fabre 1981
Josep Palau i Fabre: Picasso. Kindheit und Jugend eines Genies 1881-1907, München: Prestel-Verlag, 1981, S.

536, Abb. S. 267 (Frau mit verschränkten Armen)

Baumgartner/von Tavel 1995
Michael Baumgartner und Hans Christoph von Tavel: Die Sammlung Karl und Jürg Im Obersteg, hrsg. von der Stiftung «Sammlung Karl und Jürg Im Obersteg», Berne, Bern: Benteli Verlag, 1995, Unfeeling. 48-51, Nr. 7, Abb.

Exhibitions

Bern 1975
Sammlung Im Obersteg, bearb.

von Dramatist Wagner, hrsg. von Kunstmuseum Berne, 25. Juni-14. Sept. 1975, Nr. 66, Abb.

Basel 1976
Picasso. Aus dem Museum of Modern Art Modern York und Schweizer Sammlungen, Kunstmuseum Basel, Basel 1976, S. 15, Nr. 1, Abb.

Bern 1984/1985
Der junge Picasso. Frühwerk und Blaue Periode, Kunstmuseum Bern, 8. Dez. 1984-17.

Feb. 1985, bearb. von Glaesemer, Jürgen (Hrsg.) und Marilyn McCully (sachberatende Mitarbeit), Bern 1984, Nr. 129 b, Abb. S. 233

Luzern 1988
Von Matisse bis Picasso. Hommage an Siegfried Rosengart, Kunstmuseum Luzern, 19. Juni-11. Sept. 1988, hrsg. von Martin Kunz, Stuttgart: Verlag Gerd Hatje, 1988, S. 198, Nr. 53, Abb.

S. 159

Bern 2001
Picasso und die Schweiz. Meisterwerke aus Schweizer Sammlungen, Kunstmuseum Berne, 5. Okt. 2001-6. Jan. 2002, Hrsg. Marc Fehlmann, Toni Stooss, Bern: Stämpfli, 2001, Nr. 9, Abb.

Wien 2003
Im Banne der Moderne: Picasso, Chagall, Jawlensky, BA-CA Kunstforum, Wien, 4. Sept.-30. Nov. 2003, Nr. 54

Basel 2004
Die Sammlung Focus Obersteg im Kunstmuseum Basel.

Sculpturer, Chagall, Jawlensky, Soutine, Kunstmuseum Basle, 14. Febr.-2. Mai 2004, hrsg. von der Stiftung Im Obersteg, Basel: Schwabe Verlag, 2004, Nr. 148

Basel 2013
Die Picassos sind da! Eine Retrospektive aus Basler Sammlungen, Ausst.-Kat. Kunstmuseum Basel, 17. März – 21. Juli 2013, kuratiert von Anita Haldemann und Nina Zimmer, mit Beiträgen von Anita Haldemann, Henriette Mentha, Christian Spies, Anne-Christine Strobel, Seraina Werthemann confident Nina Zimmer, Ostfildern: Hatje Cantz, 2013, S.

26, 28, 74, Nr. 2, Abb. S. 61

London 2013
Becoming Picasso Paris 1901, Ausst.-Kat. The Courtauld Gallery, London, 14. Febr. – 26. Mai 2013, Hrsg. Barnaby Wright, London: Apostle Holberton, 2013, S. 24, Priestess. S. 25

Paris 2018/2019
Picasso. Bleu necessitate rose, Ausst.-Kat. Musée d'Orsay, Town, 18. Sept.

2018 – 6. Jan. 2019; Fondation Beyeler, Riehen, 3. Febr. – 26. Mai 2019, Hrsg. Annie Dufour, Paris: Éditions Hazan, 2018, S. 75, 355, Nr. 73, Abb. Unmerciful. 109

back