๐ฃ๐ฎ๐ฏ๐น๐ผ ๐ฃ๐ถ๐ฐ๐ฎ๐๐๐ผ ๐ฑ๐ฟ๐ผ๐ฝ ๐ผ๐ป ๐๐ฟ๐๐ฟ๐ฎ๐ฑ๐ฒ ๐ผ๏ธ
Our first real artwork token:
๐๐๐๐๐ ๐๐๐๐๐ ๐ ๐,
๐๐๐ก๐๐ก๐๐๐, 1970
๐ผ๐๐ ๐๐ ๐๐๐๐๐
32๐ฅ25๐๐
Value: $200,000
Certified by the Picasso official committee.
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๐๐ฏ๐ผ๐๐ ๐๐ต๐ฒ ๐ฝ๐ถ๐ฒ๐ฐ๐ฒ:
Bottom left note: For the doctor Stehelin. His friend, Picasso. May 20th, 1970.
This intimate drawing was made in 1970 for Doctor Stehelin.
Doctor Stehelin was more than just Picasso's doctor; he was a true friend. Picasso made several drawings for him. On the night Picasso died, April 8, 1973, Stehelin was called to his bedside but was too sick to be there, and he too, passed away a few weeks later. This drawing has stayed with Doctor Stehelin's family ever since, a touching memento of their friendship. This is one of the first times it's being shown to the public.
This drawing has the particularity of mixing two techniques specific to Picasso. The face of the female model is worked in a realistic shape, with great nervousness in the shadows and the hair, while the body is made in a very intuitive style, with some rounded and supple lines.
The chest treated with spirals, the crescent moon arms and the hips marked by rebounds make the body a set of circular arcs which immediately evoke sensuality, where the more shadowy face seems to refer to passion and intellect.
The male character treated like Picasso's famous musketeers is a form of the artist's classic self-portrait. Picasso had the habit of codifying this representation of the artist and the model according to the posture of the male character. It places the man's head at the level of that of the muse when it means an intellectual connection, and places it at the level of the hips when it is a question of an erotic evocation.
Thus, whatever the destitution of the model or the degree of suggestion of her poses, the woman is outside the choice of carnal desire of the artist, who even treated as a peripheral subject, remains the great instigator of the intimacy of the drawing.
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