In the course of the years 1905-8, drawing was nevertheless to take on unprecedented importance in a formal revolution in which drawing would no longer be mere preparation for painting but would become the laboratory of mutations in pictorial language. For Picasso the ever-increasing complexity of form required a new concentration on drawing in its constructive role.
Pablo Picasso
Tête, Étude pour une Sculpture, 1912
Pen and ink on paper
17 x 12.7 cm
Framed 48.5 x 36.5 cm
Framed 48.5 x 36.5 cm
Copyright the Artist
From Sotheby's catalogue Executed on cream wove paper, not laid down, attached to the mount in the lower two corners and floating in the over-mount. The right edge is deckled...
From Sotheby's catalogue Executed on cream wove paper, not laid down, attached to the mount in the lower two corners and floating in the over-mount. The right edge is deckled and there are some remnants of an adjacent sheet to the lower part of the right edge. There is a faint horizontal fold across the sheet. There is a 5mm-long tear to the centre of the lower edge. The ink is very slightly faded and there are some very minor creases and handling marks in places. This work is in overall good condition.
Provenance
Estate of the artist
Marina Picasso, the artist’s granddaughterChristian Zervos, Pablo Picasso, Supplément aux années 1910 à 1913, Paris, 1974, vol. 28, no. 144, illustrated pl. 71
Picasso: Sculptor/Painter (exhibition catalogue), Tate Gallery, London, 1994, n.n., illustrated p. 191
Literature
Christian Zervos, Pablo Picasso, Supplément aux années 1910 à 1913, Paris, 1974, vol. 28, no. 144, illustrated pl. 71Picasso: Sculptor/Painter (exhibition catalogue), Tate Gallery, London, 1994, n.n., illustrated p. 191
