"id","title","medium","classification","dimension","object_name","continent","country","culture","dated","room","style","inscription","signed","markings","text","description","provenance","portfolio","creditline","accession_number","artist","role","nationality","life_date","image_copyright","department","rights_type","image","image_width","image_height","restricted","public_access","curator_approved","catalogue_raissonne","art_champions_text","see_also","searchTerm","searchScore","related:audio-stops","list:paintings-collection-highlights","list:aib-2021-selections","list:handbook","list:paintings-provenance","list:whm","list:recent-additions-to-the-prints-and-drawings-collection","related:adopt-a-painting","list:hispanic-heritage","list:hispanic-american-heritage"
"1908","Picasso","Gelatin silver print (printed 1972)"," Photographs","9 1/16 x 6 11/16 in. (23.02 x 16.99 cm) (image)
15 x 13 in. (38.1 x 33.02 cm) (mount)","Photograph","Europe","France",,"1955 (printed 1972)","Not on View","20th century","","","","","","","From ""A Portfolio of Photographs by Jacques Henri Lartigue""","The Kate and Hall J. Peterson Fund","72.118.10","Photographer: Jacques Henri Lartigue","Artist","French","French, 1894 - 1986","Photograph by Jacques Henri Lartigue %C2%A9 Ministry of Culture %E2%80%93 France %2F AAJHL","European Art","In Copyright","valid",1920,2589,1,"1",0,,,"[""""]","picasso",12.812898,,,,,,,,,,
"1278","Baboon and Young","Bronze"," Sculpture","21 1/2 x 13 1/8 x 24 in. (54.6 x 33.3 x 61.0 cm)","Figure group","Europe","Spain",,"1951","G376","20th century","Date and Mark","(top of base, back right): [10,51]","RB: [Cire / C. Valsuani / Perdue]","Pablo Picasso was always innovative in his approach to art, regardless of the medium in which he was working. As a sculptor, Picasso pioneered the technique of assemblage, constructing works partly or entirely of ""found"" objects, both natural and man-made. In Baboon and Young, the artist used toy automobiles, a storage jar, and a car spring to create a playful image of motherhood. The two metal cars, undersides together, are the baboon's head; the round earthenware pot, with its high handles, makes up her torso and shoulders; and the curving steel spring forms her backbone and long tail. The rest of her body and the figure of her child were modeled from clay, and the whole piece was cast in bronze.","","",,"Gift of funds from the John Cowles Foundation","55.45","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",6021,7743,1,"1",0,,,"[""""]","picasso",11.829225,"[{""title"":""Picasso, Baboon and Young"",""_id"":""1278"",""objectId"":""1278"",""link"":""http://audio-tours.s3.amazonaws.com/p945.mp3"",""number"":""945"",""type"":""audio""}]",,,,,,,,,
"1423","Woman by the Sea","Oil on canvas"," Paintings","23 x 19 in. (58.42 x 48.26 cm) (sight)
32 x 28 x 2 3/4 in. (81.28 x 71.12 x 6.99 cm) (outer frame)","Painting","Europe","Spain",,"1922","G371","20th century","Signature and Date","LR in white: [Picasso 22]","","Picasso took an interest in classical art, specifically that of the Hellenistic period (323–31 BCE), such as the Venus de Milo. Here he imitated a sculptural form on a two-dimensional surface by modeling with light and shadow. He deliberately distorted the forms of the body, foreshortening the figure and compressing space and depth. The woman’s dark, wavy hair, serene expression, languid pose, and draped dress all reflect Hellenistic Greek influence. Isolation against a barren background accentuates her massiveness, making her presence overpowering.","Woman in a white gown seated next to the sea. Picasso's Classical period.","",,"Bequest of Putnam Dana McMillan","61.36.24","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4783,5864,1,"1",0,,,"[""""]","picasso",11.787147,"[{""title"":""Picasso, Woman by the Sea"",""_id"":""1423"",""objectId"":""1423"",""link"":""http://audio-tours.s3.amazonaws.com/p788.mp3"",""number"":""788"",""type"":""audio""}]",true,,,,,,,,
"1517","Woman in an Armchair","Oil on canvas"," Paintings","28 1/4 x 23 1/4 in. (71.76 x 59.06 cm) (sight)
36 3/8 x 31 1/4 x 2 in. (92.39 x 79.38 x 5.08 cm) (outer frame)","Painting","Europe","Spain",,"1927","G376","20th century","Signature and Date","LL in gray: [Picasso/27]","","Having invented Cubism with Georges Braque around 1907, Pablo Picasso spent the next sixty-five years playing with his creation. He explored ways art could free itself from slavishly describing reality while still evoking it. Here, the amoeba-like body of the woman is intentionally distorted; her head, torso, and limbs are exaggerated and deformed almost beyond recognition. The jumble of patterns, and the strong lines of the wainscoting and floor, convey an unsettling tension that is at odds with the placid, gray-and-white profiles that float like cast shadows upon the surface. Through such a juxtaposition of tension and calm, the artist depicted the several faces of emotion that form the reality of human existence. However, like many other images of women created during the late 1920s and early 1930s, Woman in an Armchair is also a reflection of the artist's reality—a deteriorating marriage with his first wife, Olga Khokhlova.","","",,"Gift of Mr. and Mrs. John Cowles","63.2","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 2014 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4984,5961,1,"1",0,,,"[""""]","picasso",11.738361,"[{""title"":""Pablo Picasso, Woman in an Armchair"",""_id"":""1517"",""objectId"":""1517"",""link"":""http://audio-tours.s3.amazonaws.com/p860.mp3"",""number"":""860"",""type"":""audio""}]",,true,true,true,,,,,
"28529","Pablo Picasso","Gelatin silver print"," Photographs","19 3/4 x 15 3/4 in. (50.17 x 40.01 cm) (image)
28 1/16 x 22 in. (71.28 x 55.88 cm) (mount)",,"North America","Canada",,"1954","Not on View","20th century","","","","","","",,"Gift of Patrick Butler, Jr. and Patricia M. Butler","95.12.1","Photographer: Yousuf Karsh","Artist",,"Canadian, 1908–2002","%C2%A9 The Estate of Yousuf Karsh. All rights reserved.","Arts of the Americas","In Copyright","valid",1535,1920,1,"1",0,,,"[""""]","picasso",8.020514,,,,,,,,,,
"58310","Portrait of Picasso","Etching"," Prints","13 x 8 1/2 in. (33.02 x 21.59 cm) (plate)
15 5/8 x 11 in. (39.69 x 27.94 cm) (sheet)",,"Europe","Spain",,"1920-1967","Not on View","20th century","Signature","countersigned by Picasso","","","","",,"Gift of Mrs. Patrick Butler","P.13,983","Artist: Paul Lemagny","Artist","French","French, born 1905-1977","%C2%A9 Estate Paul Lemagny","European Art","In Copyright","valid",3203,4602,1,"1",0,,,"[""""]","picasso",7.8491697,,,,,,,,,,
"31299","Picasso's Pencil","dye bleach color print"," Photographs","9 11/16 x 11 15/16 in. (24.61 x 30.32 cm) (image)
11 x 14 in. (27.94 x 35.56 cm) (sheet)",,"North America","United States",,"1987","Not on View","20th century","Title, Inscription, Signature, Date","","\'Picassos Pencil/1/10/Henkel 87\' in graphite below sheet on mat; \'Henkel\' in graphite, lower left corner of mat; \'Picasso\'s Pencil/Henkel/Paris/87/1/10\' in graphite, center verso","","pencil speared through creased postcard with image of a Picasso work","",,"Gift of John and Beverly Rollwagen","99.203.10","Photographer: James Henkel","Artist","American","American, born 1947","%C2%A9 James Henkel","Arts of the Americas","In Copyright–Educational Use","valid",2428,1985,0,"1",0,,,"[""""]","picasso",7.37544,,,,,,,,,,
"4640","Pablo Picasso and detail of ""Guernica,"" France","Gelatin silver print (printed 1982)"," Photographs","11 15/16 x 8 in. (30.32 x 20.32 cm) (image)
14 x 11 in. (35.56 x 27.94 cm) (sheet)","Photograph","Europe","Poland",,"1937","Not on View","20th century","","","","","Part of a portfolio","","From ""David Seymour 'Chim'"" portfolio","Gift of Stephen Daiter","93.75.1.4","Photographer: David Seymour; Publisher: The International Center for Photography; Depicted: Pablo Picasso","Artist","Polish","Polish, 1911–1956","Copyright 1998 David Seymour Estate","European Art","In Copyright–Educational Use","valid",3059,4586,0,"1",0,,,"[""""]","picasso",6.716116,,,,,,,,,,
"100787","Tirage de l'Auter, Picasso","Gelatin silver print"," Photographs","14 1/2 x 10 3/4 in. (36.83 x 27.31 cm) (image)
15 5/8 x 11 1/2 in. (39.69 x 29.21 cm) (sheet)","Photograph","Europe","France",,"1939","Not on View","20th century","Signature","on sheet below image right in black: [BRASSAI]","","Brassaï’s photograph of the famous Spanish artist Pablo Picasso, places Picasso in a foreboding shadow of a stove. The photograph also implies a relationship between Brassaï and Picasso in his comfort in sitting for the camera, as his expression seems relaxed. Picasso’s eyes look away from the camera, as if in conversation, and he might be gesturing with his hand.","seated man smoking cigarette; large stove with six-tiered openings between firebox and chimney","","From ","Gift of Frederick B. Scheel","2007.35.267","Photographer: Brassaï","Artist","French","(Gyula Halsz) French (born Hungary), 1899–1984","Photographe Brassa%C3%AF Copyright %C2%A9 Gilberte Brassa%C3%AF","European Art","In Copyright","valid",3062,4154,1,"1",1,,,"[""""]","picasso",6.6355205,,,,,,,,,,
"59390","Picasso Study Club","Color screenprint"," Prints","9 3/8 x 17 7/8 in. (23.81 x 45.4 cm) (image)
10 7/8 x 19 in. (27.62 x 48.26 cm) (sheet)","Print","North America","United States",,"1940","Not on View","20th century","Titled in black crayon within the image, LC: Picasso - Study Club","Signed and dated in black crayon withn the image, LR: Elizabeth Olds. 1940.","","New Yorkers were nuts about Pablo Picasso (1881–1973) in the 1930s. Elizabeth Olds thought the hero-worship ridiculous, largely because she suspected that most people hadn’t bothered to understand the Spanish artist’s work.
The distorted faces of these Picasso Study Club members look right at home next to the abstract artworks they’re studying. Old’s satire coincided with an exhibition of 300 Picasso works that opened in New York in 1939, his biggest U.S. show to date.","","Mrs. Charles C. (Kate) Bovey, Minnneapolis; given to MIA, 1941.",,"Gift of Mrs. C.C. Bovey, 1941","P.11,768","Artist: Elizabeth Olds","Artist","American","American, 1896–1991","%C2%A9 Elizabeth Olds","Arts of the Americas","In Copyright","valid",8376,4822,1,"1",0,"RKG Foundation, Fig. 16",,"[""""]","picasso",6.603032,,,,,,true,,,,
"99759","Picasso et Francoise Gilot","Gelatin silver print"," Photographs","9 1/2 x 10 in. (24.13 x 25.4 cm) (image)
12 x 15 15/16 in. (30.48 x 40.48 cm) (sheet)",,"Europe","France",,"1952","Not on View","20th century","Signature, Title and Date","LRC below image, in black: [Robert Doisneau]; at center on back, in pencil: [PICASSO ET FRANÇOISE GILOT-1952/ D]","","","Picasso wearing a striped shirt and dark pants, seated at the foot of a bed in the corner of a room; three drawings on wall above Picasso's head; head and shoulders of a woman with long dark hair in LLC","","From ","Gift of Frederick B. Scheel","2007.35.81","Photographer: Robert Doisneau","Artist","French","French, 1912 - 1994","%C2%A9 Atelier Robert Doisneau","European Art","In Copyright","valid",3534,3362,1,"1",0,,,"[""""]","picasso",6.5831556,,,,,,,,,,
"4765","Pablo Picasso, Vallauris, France","Gelatin silver print"," Photographs","18 5/16 x 14 7/16 in. (46.51 x 36.67 cm) (image)
19 7/8 x 15 7/8 in. (50.48 x 40.32 cm) (sheet)",,"North America","United States",,"1954","Not on View","20th century","Signature; Date; Inscription","","signed, titled and dated at bottom recto; photgrapher\'s stamp verso","","","",,"Gift of Eric A. Newman and Janice I. Gepner","94.95.1","Artist: Arnold Newman","Artist","American","American, 1918-2006","%C2%A9 Arnold Newman Properties%2FGetty Images","Arts of the Americas","In Copyright–Educational Use","valid",1909,2436,0,"1",0,,,"[""""]","picasso",6.419465,,,,,,,,,,
"67316","Picasso Goes to Heaven II","Color etching and pochoir"," Prints","30 3/8 x 29 in. (77.15 x 73.66 cm) (plate)",,"North America","United States",,"1976","Not on View","20th century","Signature
","","","","","[G.W. Einstein Company, New York]","From ","The Ethel Morrison Van Derlip Fund","P.79.29","Artist: Red Grooms; Publisher: Brooke Alexander, New York; Publisher: Marlborough Graphics, New York","Artist","American","American, born 1937","%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",7533,7093,1,"1",0,"A32",,"[""""]","picasso",6.329893,,,,,,,,,,
"120198","Pablo Picasso Working on a Painting","Gelatin silver print"," Photographs","8 × 6 5/8 in. (20.32 × 16.83 cm) (sight)
17 11/16 × 15 3/8 × 1 7/16 in. (44.93 × 39.05 × 3.65 cm) (outer frame)","Photograph","Europe","France",,"c. 1939","Not on View","20th century","","","","","standing man seen from back wearing medium-toned suit, painting an abstract portrait of a seated figure","","From ","Gift of Shared Ventures in celebration of the 100th anniversary of the Minneapolis Institute of Arts","2014.132.8","Photographer: Brassaï","Artist","French","(Gyula Halsz) French (born Hungary), 1899–1984","Photographe Brassa%C3%AF Copyright %C2%A9 Gilberte Brassa%C3%AF","European Art","In Copyright","valid",2534,3065,1,"1",0,,,"[""""]","picasso",6.240321,,,,,,,,,,
"7571","Cover from Sueño y Mentira de Franco (Dream and Lie of Franco)","Blue-green paper cover for album containing two etchings with sugar-lift aquatint and scraper; letterpress and facsimile of handwritten text printed in heliogravure"," Prints","12 1/4 x 16 1/2 in. (31.1 x 41.9 cm)","Album cover","Europe","Spain",,"January 8 and 9, June 7, 1937","Not on View","20th century","","","","The 18 etched scenes Picasso made for this portfolio were originally intended to be cut out as postcards and sold individually at the Spanish pavilion of the 1937 Paris World's Fair to benefit the Spanish Refugee Relief Fund.
Portfolio includes prose poem written by Picasso, with translations in French and English.","Blue-green paper album cover with printed paper title","(David Tunick, New York); sold to MIA, 1979.","From Sueño y Mentira de Franco (The Dream and Lie of Franco)","The Herschel V. Jones Fund, by exchange","P.79.58.1","Artist: Pablo Picasso; Author: Pablo Picasso; Publisher: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3295,4800,1,"1",1,"Bloch 297-98; Baer 615-16; Cramer books 28",,"[""""]","picasso",6.145305,,,,,,,,,,
"76675","Cover for an Exhibition Catalogue: Picasso, Dessins d'un Demi-Siècle","Color lithograph"," Prints","14 1/4 x 12 in. (36.2 x 30.48 cm) (image)
19 3/4 x 15 in. (50.17 x 38.1 cm) (sheet)","Print","Europe","France",,"1956","Not on View","20th century","Signature and edition","LRC, in pencil: Picasso; LLQ, below man\'s face, printed in green on plate: Picasso","LRQ, below border around man\'s face, in pencil: 7/50","","abstract face of bearded man at L; abstract dancing nude couple at R; light blue, purple, green and black","Mary and Robyn Campbell, Minneapolis; given to MIA, 2003.","From ","Gift of Mary and Robyn Campbell","2003.156.25","Artist: Pablo Picasso; Publisher: Berggruen and Company","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",1846,2421,1,"1",0,"M.268",,"[""""]","picasso",5.904925,,,,,,,,,,
"55446","Les Trois Amies (The Three Friends)","Etching"," Prints","25 1/4 x 17 13/16 in. (64.14 x 45.24 cm) (sheet)
16 3/8 x 11 3/4 in. (41.59 x 29.85 cm) (image)","Print","Europe","Spain",,"1927","Not on View","20th century","Signature","in pencil: [Picasso]; on plate: [Picasso]","","In the 1920's Picasso developed a spare outline style of drawing, a rebirth of Neoclassical styles based on the drawings that decorate ancient Greek vases. The uniform line produced by the etching needle proved ideal for such drawings and opened an especially prolific era in Picasso's career as a printmaker.","","Nierendorf Gallery; Guggenheim Museum",,"The William Hood Dunwoody Fund, by exchange","P.78.6.19","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3529,4942,1,"1",0,"Bloch 76",,"[""""]","picasso",5.6737266,,,,,,,,,,
"8827","Minotaure aveugle guidé par une fillette, III","Etching, aquatint and burin"," Prints","8 15/16 x 12 3/8 in. (22.7 x 31.4 cm) (image)
13 3/8 x 17 11/16 in. (34 x 44.9 cm) (sheet)","Print","Europe","Spain",,"1934","Not on View","20th century","","signed lower right in pencil","","The Minotaur—half man and half bull—is a creature from Greek mythology. Picasso felt such kinship with bulls that the Minotaur became an alter-ego in his art. In mythology, the Minotaur feasts on humans and is placed in a labyrinth to keep it from running amok. Picasso repeatedly depicted the Minotaur as powerful and virile, but several times—as here—the creature is blind and has to rely on the guidance of a young woman (Picasso’s lover, Marie-Thérèse Walter) carrying a bird. He walks past his wife, Olga Khokhlova, the tall figure on the right. Walter was pregnant when Picasso made this print, and Khokhlova left him the following year.","","",,"Gift of Kenneth R. and Lillian Smith","P.93.21.17","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",5083,3836,1,"1",0,"Bloch 224",,"[""""]","picasso",5.670566,,,,,,,,,,
"58308","Taureau de Profil","Crayon transfer lithograph"," Prints","11 3/4 x 16 1/2 in. (29.85 x 41.91 cm) (image)","Print","Europe","Spain",,"1945","Not on View","20th Century","","","","Picasso loved to draw bulls. In the 1940s, he repeatedly set out to define the essence of the bull by drawing it in minimal ways, forcing him to select the features most important to him in the moment.","","","From ","Gift of Mr. and Mrs. Darwin Ready","P.81.69","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",7074,4806,1,"1",0,"H.27",,"[""""]","picasso",5.666287,,,,,,,,,,
"58219","Après la Pique","Color linocut"," Prints","21 x 25-1/4 in. (53.3 x 64.1 cm)","Print","Europe","Spain",,"1959","Not on View","20th century","","Signed in pencil, LR: Picasso","","In 1958, Picasso moved with Jacqueline Roque (who would become his second wife in 1961) to the Château de Vauvenargues in the South of France. There they were close to the village of Vallauris, which had recently begun to permit bullfighting. Picasso and Roque were passionate about the bullfight, and he now returned to this subject, which had fascinated him earlier in his career.
Après la Pique depicts the moment when the picador (on the blindfolded horse) has thrust his sharpened lance into the bull’s neck to weaken its shoulder muscles. For this dynamic image of power and struggle, Picasso chose the relief printmaking technique of linoleum cut, using this simple medium to explore form and contrast in expressive ways.","","(R.S. Johnson Fine Art, Chicago); sold to MIA, 2002.",,"Gift of the Harriet Hanley Estate","2002.113","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3655,3209,1,"1",1,"Bloch 910; Baer 1230",,"[""""]","picasso",5.6610184,,,,,,,,,,
"124185","Bullfight","Glazed ceramic"," Ceramics","2 3/8 × 6 15/16 × 6 15/16 in. (6.03 × 17.62 × 17.62 cm)","Bowl","Europe","France",,"20th century","Not on View","20th century","raised from surface, bottom center: 25.11.53. [backwards]","","on bottom, stamped: MADOURA / EMPREINTE / ORIGINALE DE / PICASSO","Pablo Picasso began producing ceramics in 1947 at the Madoura pottery near Nice. There, he discovered a way to create original ceramics in limited editions. Using Picasso's prototypes, Madoura potters would make plaster models. Into these molds, they would press sheets of clay, carefully pull them out, and then form them into vessels of various kinds. The potters would then use glazes to decorate the forms to duplicate Picasso's originals","bowl with foot ring; black exterior; white interior with low relief design highlighted in black with green touches; bullfight scene with matador with spear on horseback at left, facing bull; sun in sky at top center; arena arches and dots representing spectators at top; silhouettes of upper bodies of spectators at bottom","","From ","Bequest of Bruce B. Dayton","2016.33.6","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",6345,6393,1,"1",0,,,"[""""]","picasso",5.6564198,,,,,,,,,,
"124184","Plate","Glazed ceramic"," Ceramics","1 × 9 7/16 × 9 5/8 in. (2.54 × 23.97 × 24.45 cm)","Plate","Europe","France",,"c. 1950","Not on View","20th century","raised from surface, bottom center: 25.9.53. [backwards]","","on bottom, in black: 128/200 | on bottom, stamped: EMPRENTE / ORIGINALE DE / PICASSO | MADOURA / [flames] / PLEIN FEU","Pablo Picasso began producing ceramics in 1947 at the Madoura pottery near Nice. There, he discovered a way to create original ceramics in limited editions. Using Picasso's prototypes, Madoura potters would make plaster models. Into these molds, they would press sheets of clay, carefully pull them out, and then form them into vessels of various kinds. The potters would then use glazes to decorate the forms to duplicate Picasso's originals","white plate with slightly squared-off shape; top surface decorated with incised and low-relief design of black silhouettes of matador on horseback at left spearing a bull at right in the head; black silhouettes of spectators at top; yellow, green and blue touches","","From ","Bequest of Bruce B. Dayton","2016.33.5","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",7536,7448,1,"1",0,,,"[""""]","picasso",5.6564198,,,,,,,,,,
"124186","Bird","Glazed ceramic"," Ceramics","1 × 9 7/8 × 9 7/8 in. (2.54 × 25.08 × 25.08 cm)","Plate","Europe","France",,"20th century","Not on View","20th century","on underside, in black: h.96 / 86/150 / EDITION / PICASSO / MADOURA","","see Inscription","Pablo Picasso began producing ceramics in 1947 at the Madoura pottery near Nice. There, he discovered a way to create original ceramics in limited editions. Using Picasso's prototypes, Madoura potters would make plaster models. Into these molds, they would press sheets of clay, carefully pull them out, and then form them into vessels of various kinds. The potters would then use glazes to decorate the forms to duplicate Picasso's originals","plate with downward-arcing rim; white glaze on bottom; top is matte black with standing red bird with glossy white breast","","From ","Bequest of Bruce B. Dayton","2016.33.7","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",8002,7934,1,"1",0,,,"[""""]","picasso",5.6564198,,,,,,,,,,
"124021","Pas de deux","Brush and ink"," Prints","24 3/4 × 18 7/8 in. (62.87 × 47.94 cm) (sight)
34 3/8 × 28 3/4 × 3/4 in. (87.31 × 73.03 × 1.91 cm) (outer frame)","Drawing","Europe","France",,"1925","Not on View","20th century","Signature and Label","LLC in pencil: Picasso","on backing sheet: Minneapolis Institute of Arts exhibition label, 1971","Picasso had a complicated relationship with dance. He reveled in the Ballet Russe, which brought him into contact with other artists and gave him entrée into upper class Parisian society. In 1918, he married Olga Kholkhova a dancer in the troupe. Though Picasso sought high society, he could not abide by its regimentation and Olga’s insistence that he behave. As a result they frequently came into conflict.
Two Dancers seems full of empathy for the awkwardly powerful male tasked with helping the graceful woman appear as weightless as possible. Picasso employed an exceptionally spare, sensitive line that recalls the painting on Greek vases. His use of this style during the early 1920’s caused this to become labeled as his classical period.","Two figures; left figure balanceing on right figure's leg and arms","Ludwig Charell (New York, 1956); Rosalynd Pflaum, Wayzata, MN, 1956-2014; by descent to her sons Peter and Stephen","From ","Gift of Peter Pflaum and Stephen R. Pflaum","2015.130.1","Artist: After Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","European Art","In Copyright","valid",5174,6748,1,"1",0,,,"[""""]","picasso",5.6461315,,,,,,,,,,
"42871","Paysage a Vallauris","Lithograph"," Prints","22 1/2 x 29 3/4in. (57.2 x 75.6cm)","Print","Europe","Spain",,"1953","Not on View","20th century","","","","From 1948 to 1955, Picasso lived in Vallauris, a picturesque village in the hills above Cannes on the French Riviera. There he became a prolific producer of ceramics—a new medium for him—and made simple linocut posters to advertise his exhibitions. He had them printed on the large mechanical presses of Hidalgo Arnéra, a talented local commercial printer, and was inspired to experiment further with linocut as a printmaking medium. Even after Picasso moved away from Vallauris, he frequently returned to work with Arnéra, who helped him developed his linocuts, and to enjoy the bullfights that the town legalized in the mid-1950s.","","",,"Gift of Mrs. Charles B. Meech","P.91.1.9","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",7780,5819,1,"1",0,,,"[""""]","picasso",5.6400948,,,,,,,,,,
"1424","Reclining Woman","Graphite on paper"," Drawings","8 5/8 x 12 3/8 in. (21.91 x 31.43 cm) (image)
15 3/4 × 19 3/4 in. (40.01 × 50.17 cm) (outer frame)","Drawing","Europe","France",,"1920","Not on View","20th century","Signature; Mark; Date
see Signed","UL: [27-5-20 Picasso]","Watermark:
","Reclining Woman was one of a series of drawings of bathers that Pablo Picasso began in 1918. At that time, he departed from the Synthetic Cubism that had defined his work for most of the preceding decade and entered his neoclassical phase. Works in this period reflected his study of classical art and are characterized by a spare, pure line and monumental, idealized figures, though with elongated proportions and massive hands. Picasso’s paintings of giant bathers from 1920–22 were often preceded by small drawings such as this one, where he demonstrates his virtuoso skill in fluid, rhythmic outlines and simple compositions in an intimate format.","upper half of woman reclining with head on arm, hair in bun on top of head","(Curt Valentin, New York); (Stendal Gallery, New York). Putnam Dana McMillan, Minneapolis, d.1961; Estate of Putnam Dana McMillan, Minneapolis; bequethed to MIA, 1961
",,"Bequest of Putnam Dana McMillan","61.36.3","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",2468,1729,1,"1",1,,,"[""""]","picasso",5.603694,,,,,,,,,,
"55437","Figure with Striped Blouse","Color lithograph"," Prints","25 1/2 x 19 11/16 in. (64.8 x 50.0 cm)","Print","Europe","Spain",,"1949","Not on View","20th century","","in pencil: Picasso","","","","",,"Gift of Mr. and Mrs. George Pillsbury","P.12,574","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3839,4972,1,"1",0,"M. 179; Bloch 604",,"[""""]","picasso",5.5269113,,,,,,,,,,
"27632","Joie de Vivre","Earthenware"," Ceramics","16 3/8 in. (41.59 cm)",,"Europe","Spain",,"c. 1956","Not on View","20th century","","","","","","",,"Gift of Ruth and Bruce Dayton","91.148.2","Maker: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",5530,3620,1,"1",0,,,"[""""]","picasso",5.52473,,,,,,,,,,
"18488","The Water Carrier","Pen and brown ink and brown wash on light brown paper"," Drawings","8 x 4 3/4 in. (20.3 x 12.1 cm)","Drawing","Europe","France",,"1904-1905","Not on View","20th century","Signature
see Signed","LR: [Picasso]","","","","[Este Gallery, New York; sold to Daniels]; David M. Daniels, New York (until 1962; given to Mia)",,"Gift of David M. Daniels","62.76.2","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",2693,4473,1,"1",0,,,"[""""]","picasso",5.5222516,,,,,,,,,,
"55435","The Studio","Lithograph"," Prints","24 3/8 x 18 7/8 in. (61.9 x 47.9 cm)","Print","Europe","Spain",,"1948","Not on View","20th century","","in pencil: Picasso","","","","[Galerie Gerald Cramer, Geneva, until 1957; sold June 14, for $125, to Mia]",,"The Miscellaneous Works of Art Purchase Fund","P.12,546","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3799,4941,1,"1",0,"Mourlot 125; Bloch 576",,"[""""]","picasso",5.5222516,,,,,,,,,,
"55438","Venus and Cupid","Lithograph"," Prints","26 1/2 x 18 3/4 in. (67.3 x 47.6 cm) (image)
30 x 22 3/8 in. (76.2 x 56.8 cm) (sheet)","Print","Europe","Spain",,"1949","Not on View","20th century","","in pencil: Picasso","","","","",,"Gift of Mr. and Mrs. Leo R. Pflaum","P.12,575","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3676,4934,1,"1",0,"F.M. 183 II",,"[""""]","picasso",5.5222516,,,,,,,,,,
"27794","Face No.111","Earthenware, slip, and enamel underglaze"," Ceramics","10 in. (25.4 cm) (diameter)",,"Europe","Spain",,"1963","Not on View","20th century","","","","","","",,"Gift of Mr. and Mrs. Kenneth S. Carpenter","92.112","Maker: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3563,5369,1,"1",0,,,"[""""]","picasso",5.5209255,,,,,,,,,,
"58321","Le Combat","Etching and engraving"," Prints","15 5/8 x 19 1/2 in. (39.69 x 49.53 cm) (image)","Print","Europe","Spain",,"1937","Not on View","20th century","Signature","","","","","",,"The William Hood Dunwoody Fund, by exchange","P.78.6.17","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",5167,3427,1,"1",0,"Bloch 301",,"[""""]","picasso",5.5209255,,,,,,,,,,
"58309","Le Singe","Etching and lift ground aquatint (sugar lift)"," Prints","11 x 8 1/4 in. (27.94 x 20.96 cm) (image)","Print","Europe","Spain",,"1936","Not on View","20th century","Signature","in pencil, in plate","","","","",,"The Miscellaneous Works of Art Purchase Fund, by exchange","P.78.6.11","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3473,4573,1,"1",0,,,"[""""]","picasso",5.5209255,,,,,,,,,,
"45793","El Tio Pepe Don José","Pen and brown ink on buff paper"," Drawings","12 x 9-1/4 in. (31 x 24 cm)","Drawing","Europe","France",,"1905","Not on View","20th century","Inscribed in pencil at upper left: [Picasso]","","","","","The artist, Paris ('sold to Kahnweiler); Daniel-Henry Kahnweiler, Paris, until 1921; sequestered by French government, sale, Paris, July 4, 1922, no. 24, for Fr329, to Brummer; (Joseph Brummer, New York, 1922-23; sold to MIA for $108).",,"John DeLaittre Memorial Collection
Gift of funds from Mrs. Horace Ropes","23.50.52","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3860,4884,1,"1",1,,,"[""""]","picasso",5.517592,,,,,,,,,,
"19747","A Disheveled Woman","Black, red, orange and turquoise chalk on tan paper"," Drawings","7 x 4 5/16in. (17.8 x 11cm)
19 x 15 x 1 1/2 in. (48.26 x 38.1 x 3.81 cm) (outer frame)","Drawing","Europe","Spain",,"1901","Not on View","20th century","Signature; Date; Inscription
see Signed
Dated along upper left edge: [Paris Julio 1901]","Inscribed and signed in brown ink at the upper right: [A Vidal - Picasso-.]","","","","[César M. De Hauke; until 1953, sold May, to David Daniels]; David Daniels, New York (1953-1971; gave to MIA)",,"Gift of David M. Daniels in memory of Mr. Stanley Hawks","71.64","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",2748,4218,1,"1",1,,,"[""""]","picasso",5.517592,,,,,,,,,,
"8826","Portrait of Ambrose Vollard, II","Sugar-lift, with aquatint and spit-bite etching"," Prints","13 1/2 x 9 1/2 in. (34.29 x 24.13 cm) (image)","Print","Europe","Spain",,"1937 (printed and published 1939)","Not on View","20th century","Signature","","","","","(Hotel Rameau, Versailles, France; sold to MIA, 1978.","From Vollard Suite","The Miscellaneous Works of Art Purchase Fund, by Exchange","P.78.6.13","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",2834,4003,1,"1",0,"Bloch 231; Baer 618.B.d",,"[""""]","picasso",5.5171213,,,,,,,,,,
"58264","Les pauvres","Etching"," Prints","9 1/4 x 7 in. (23.5 x 17.78 cm) (image)","Print","Europe","Spain",,"1905 (printed 1913)","Not on View","20th century","","","","","","[Hauswedell, Germany]; sold to MIA",,"Gift of Miss Perrie Jones, by exchange","P.78.6.15","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","","European Art","No Copyright–United States","valid",3441,4302,0,"1",0,,,"[""""]","picasso",5.5158157,,,,,,,,,,
"58263","Tête de Femme de Profil","Drypoint"," Prints","11 7/16 x 9 3/4 in. (29.05 x 24.77 cm) (image)","Print","Europe","Spain",,"1905 (printed 1913)","Not on View","20th century","","","","","","[Locksley-Shea Gallery, Minneapolis]; sold to MIA, 1978","From Saltimbanque suite","The Director's Discretionary Purchase Fund, by exchange","P.78.6.12","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","","European Art","No Copyright–United States","valid",3549,4411,0,"1",0,"Block 6; Geiser 7",,"[""""]","picasso",5.5131254,,,,,,,,,,
"121394","Ex-Libris for Max Pellequer","Etching on Japan paper"," Prints","5 1/2 × 3 3/4 in. (13.97 × 9.53 cm) (sheet)","Print","Europe","France",,"1930","Not on View","20th century","Signature, Title, Inscription
-- titled in plate at top: [EX-LIBRIS], and with this monogram: [MP]
-- inscribed in plate at bottom: [pour mon ami Max Pellequer]
-- in graphite on verso, lower right: [D]
","signed in plate, lower left: Picasso","","","horse at center grazing; female figure at R with arm over horse's mane and PL hand on its head, looking across horse at male figure dressed as acrobat who is leaning against the horse looking back; Ex Libris written across top","John E. Andrus III, Wayzata, Minn.; by descent to his daughters, Elizabeth, Katie, and Julie; given to MIA, 2015. Earlier provenances have been gathered, but further research will increase our knowledge of their histories.",,"Gift of Elizabeth, Julie, and Catherine Andrus in memory of John and Marion Andrus","2015.93.75","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","European Art","In Copyright","valid",4190,5661,1,"1",0,"Geiser 198 (as printed with another image on left side of the sheet, before lettering); Bloch 131 (right half only).",,"[""""]","picasso",5.5129323,,,,,,,,,,
"9187","Faun Uncovering a Woman","Aquatint, etching and sugar lift"," Prints","12 3/8 x 16 1/4 in. (31.43 x 41.28 cm) (plate)
13 3/8 x 17 1/2 in. (33.97 x 44.45 cm) (sheet)","Print","Europe","Spain",,"1936","Not on View","20th century","","","","Picasso’s art was a lifelong autobiography. His candid recognition of his motivation to depict women is apparent here as the faun, his alter ego, lifts the blanket to gaze at the sleeping woman. The image recalls the story of the god Jupiter transforming himself into a satyr who voyeuristically gazes upon the beautiful Antiope. Over the last 500 years, many artists, including the likes of Titian and Rembrandt, have explored this story of voyeurism and lust.","","",,"Gift of Mrs. Patrick Butler, by exchange","P.78.6.18","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",6100,4635,1,"1",0,,,"[""""]","picasso",5.509512,,,,,,,,,,
"7574","Text page from Sueño y Mentira de Franco (The Dream and Lie of Franco)","Letterpress and heliogravure facsimile of handwritten text"," Prints","15 1/4 × 22 5/16 in. (38.74 × 56.67 cm) (sheet)","Print","Europe","Spain",,"1937","Not on View","20th century","","","","Picasso published The Dream and Lie of Franco with a surrealistic poem in which he detailed the cruelty and barbarism of Fascist leader General Francisco Franco during the Spanish civil war. A reproduction of Picasso's hand-written text in Spanish was accompanied by translations in both French and English.","","","From Sueño y Mentira de Franco (The Dream and Lie of Franco)","The Herschel V. Jones Fund, by exchange","P.79.58.4","Artist: Pablo Picasso; Author: Poem by Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3201,5433,1,"1",1,"Bloch 297-98; Baer 615-16; Cramer books 28",,"[""""]","picasso",5.166231,,,,,,,,,,
"58311","Painter at Work with a Bearded Model and a Seated Spectator","Aquatint with etching"," Prints","9 1/8 x 13 in. (23.18 x 33.02 cm) (plate)","Print","Europe","Spain",,"1963","Not on View","20th Century","","Signed in pencil, LR: Picasso","Numbered in pencil, LL: 7/75","Picasso drew this composition swiftly on the copper plate, using a brush dipped in acid and a plate coated with powdered resin. He treated the subject of the artist and model frequently. Here the artist is shown at an easel seated between two nude figures, a bearded man, who is his model, and a young woman who watches.
This print was the result of a felicitous association with the Crommelynck brothers, Aldo and Piero. In 1961, at age 80, Picasso moved with his new wife, Jacqueline Roque, to Mougins, in southern France. The Crommelyncks, master printers Picasso had worked with in Paris, followed with the express purpose of collaborating with the artist. What ensued was a productive and highly innovative period of printmaking, resulting in some 500 prints.","","Mrs. Patrick Butler, St. Paul; given to MIA, 1967.","From Les Bleus de Barcelone","Gift of Mrs. Patrick Butler","P.13,990","Artist: Pablo Picasso; Printer: Aldo Crommelyck","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4815,3735,1,"1",0,"Bloch 1130; Baer (books) 117; Cramer (books) 122",,"[""""]","picasso",4.2899175,,,,,,,,,,
"128217","Le Banderillero (third state)","Color linocut"," Prints","21 1/16 × 26 1/8 in. (53.5 × 66.36 cm) (image)
23 1/2 × 29 5/8 in. (59.69 × 75.25 cm) (sheet)","Print","Europe","France",,"1959","Not on View","20th century","","","","This series of proofs reveals Picasso’s working method as he collaborated with master printer Hidalgo Arnéra using the reduction linoleum cut method—a process that seems to have materialized from their partnership. Reduction linocuts involve using a single block to print layers of ink and cutting the block between successive printings. Mia acquired a series of five proofs from Arnéra’s archive. They first engaged with the technique in the summer of 1959, and Picasso became fascinated by its possibilities. After making several small linocuts from this method, he made one larger one, and then threw himself into this large, energetic image of a ""banderillo"" confronting a powerful bull.
A ""banderillo"" is a bullfighter whose role is to thrust darts (""banderillas"") into the bull’s shoulders to anger and weaken the animal before the matador finishes it off. Picasso shows an arena filled with spectators where the lithe ""banderillo"" is doing his job. Behind him, to our left, the matador waves his cape. The bull lunges forward, head lowered with his horns nearly striking the ""banderillo,"" just as the darts strike their target. Abstract lines suggest the many vectors of force and motion in the brutal, balletic scene.
This print is the third state of the first block. Picasso returned to the block, gouging out more lines of force and scraping much of the surface, including more work on the body of the bull. This time the proof is printed on sturdy, white paper, and there is another change. It appears that Picasso decided that he did not like the disruption of the nail marks in the borders of the caramel-colored layer and that a new set of background rectangles was printed from a second block—a bit of an end-run around the limitations of reduction block printing!","From a set of five progressive working proofs for Le Banderillero. maroon image against tan background; stylized, blocky figures; charging bull at R; matador at L driving swords into bull's neck; figure at far L holding up a cape; stylized possible audience members in background","Hidalgo Arnéra, the printer (1922-2007, Vallauris, France); his estate; (Frederick Mulder, Ltd, London); sold to MIA, 2018.","From ","The John E. Andrus III Endowment Fund, the Richard Lewis Hillstrom Fund, the Barbara S. Longfellow Fund for Works on Paper, and gift of funds from Barbara S. Longfellow","2018.36.4","Artist: Pablo Picasso; Printer: Arnéra, Vallauris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",8961,7211,1,"1",0,"Bloch 940; Baer 1225; PP. L-046",,"[""""]","picasso",4.241077,,,,,,,,,,
"128213","Le Banderillero (first state)","Color linocut"," Prints","21 3/4 × 26 3/8 in. (55.25 × 66.99 cm) (image)
23 5/8 × 29 9/16 in. (60.01 × 75.09 cm) (sheet)","Print","Europe","France",,"1959","Not on View","20th century","","","","This series of proofs reveals Picasso’s working method as he collaborated with master printer Hidalgo Arnéra using the reduction linoleum cut method—a process that seems to have materialized from their partnership. Reduction linocuts involve using a single block to print layers of ink and cutting the block between successive printings. Mia acquired a series of five proofs from Arnéra’s archive. They first engaged with the technique in the summer of 1959, and Picasso became fascinated by its possibilities. After making several small linocuts from this method, he made one larger one, and then threw himself into this large, energetic image of a ""banderillo"" confronting a powerful bull.
A ""banderillo"" is a bullfighter whose role is to thrust darts (""banderillas"") into the bull’s shoulders to anger and weaken the animal before the matador finishes it off. Picasso shows an arena filled with spectators where the lithe ""banderillo"" is doing his job. Behind him, to our left, the matador waves his cape. The bull lunges forward, head lowered with his horns nearly striking the ""banderillo,"" just as the darts strike their target. Abstract lines suggest the many vectors of force and motion in the brutal, balletic scene.
This print is the first state of the first block. Picasso incised the main outlines of the image and added a few broader gouge marks to test his ideas for the abstract lines of force and the embroidered decoration of the ""banderillo’s"" trousers. This was printed in chocolate-colored ink onto one of the caramel rectangles, again using the thin proofing paper.","From a set of five progressive working proofs for Le Banderillero. maroon background over tan; outline of very simplified, stylized bull charging at R; figure at L driving two swords into its neck; figure at L holding cape-like object; 7 stylized round objects UR","Hidalgo Arnéra, the printer (1922-2007, Vallauris, France); his estate; (Frederick Mulder, Ltd, London); sold to MIA, 2018.","From ","The John E. Andrus III Endowment Fund, the Richard Lewis Hillstrom Fund, the Barbara S. Longfellow Fund for Works on Paper, and gift of funds from Barbara S. Longfellow","2018.36.2","Artist: Pablo Picasso; Printer: Arnéra, Vallauris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",8870,7153,1,"1",0,"Bloch 940; Baer 1225; PP. L-046",,"[""""]","picasso",4.229063,,,,,,,,,,
"128214","Le Banderillero (second state)","Color linocut"," Prints","21 3/4 × 26 3/8 in. (55.25 × 66.99 cm) (image)
23 11/16 × 29 9/16 in. (60.17 × 75.09 cm) (sheet)","Print","Europe","France",,"1959","Not on View","20th century","","","","This series of proofs reveals Picasso’s working method as he collaborated with master printer Hidalgo Arnéra using the reduction linoleum cut method—a process that seems to have materialized from their partnership. Reduction linocuts involve using a single block to print layers of ink and cutting the block between successive printings. Mia acquired a series of five proofs from Arnéra’s archive. They first engaged with the technique in the summer of 1959, and Picasso became fascinated by its possibilities. After making several small linocuts from this method, he made one larger one, and then threw himself into this large, energetic image of a ""banderillo"" confronting a powerful bull.
A ""banderillo"" is a bullfighter whose role is to thrust darts (""banderillas"") into the bull’s shoulders to anger and weaken the animal before the matador finishes it off. Picasso shows an arena filled with spectators where the lithe ""banderillo"" is doing his job. Behind him, to our left, the matador waves his cape. The bull lunges forward, head lowered with his horns nearly striking the ""banderillo,"" just as the darts strike their target. Abstract lines suggest the many vectors of force and motion in the brutal, balletic scene.
This print is the second state of the first block. Picasso cut away more of the block, adding many more lines of force, more spectators, and more decoration to the clothing of the banderillo and the matador. He also began to use some sort of scraper to roughen the surface of the linoleum, thus softening some of the lines and adding texture to areas such as the bull’s silhouette. Again, this was printed in chocolate-colored ink onto one of the caramel rectangles, again using the thin proofing paper.","From a set of five progressive working proofs for Le Banderillero. maroon image on tan background with simplified, blocky figures; stylized bull at R charging; matador figure at L driving swords into bull's back; figure at L with cape; 7 rounded objects in form UR","Hidalgo Arnéra, the printer (1922-2007, Vallauris, France); his estate; (Frederick Mulder, Ltd, London); sold to MIA, 2018.","From ","The John E. Andrus III Endowment Fund, the Richard Lewis Hillstrom Fund, the Barbara S. Longfellow Fund for Works on Paper, and gift of funds from Barbara S. Longfellow","2018.36.3","Artist: Pablo Picasso; Printer: Arnéra, Vallauris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",8836,7153,1,"1",0,"Bloch 940; Baer 1225; PP. L-046",,"[""""]","picasso",4.226055,,,,,,,,,,
"128216","Le Banderillero (fourth state)","Color linocut"," Prints","21 1/16 × 26 1/8 in. (53.5 × 66.36 cm) (image)
23 1/2 × 29 3/8 in. (59.69 × 74.61 cm) (sheet)","Print","Europe","France",,"1959","Not on View","20th century","","","","This series of proofs reveals Picasso’s working method as he collaborated with master printer Hidalgo Arnéra using the reduction linoleum cut method—a process that seems to have materialized from their partnership. Reduction linocuts involve using a single block to print layers of ink and cutting the block between successive printings. Mia acquired a series of five proofs from Arnéra’s archive. They first engaged with the technique in the summer of 1959, and Picasso became fascinated by its possibilities. After making several small linocuts from this method, he made one larger one, and then threw himself into this large, energetic image of a ""banderillo"" confronting a powerful bull.
A ""banderillo"" is a bullfighter whose role is to thrust darts (""banderillas"") into the bull’s shoulders to anger and weaken the animal before the matador finishes it off. Picasso shows an arena filled with spectators where the lithe ""banderillo"" is doing his job. Behind him, to our left, the matador waves his cape. The bull lunges forward, head lowered with his horns nearly striking the ""banderillo,"" just as the darts strike their target. Abstract lines suggest the many vectors of force and motion in the brutal, balletic scene.
This print is the fourth state of the first block. Picasso returned to the block for one final round of cutting. He removed much of the surface in the areas surrounding the figures of the matador, bandillero, and bull. Arnéra now inked the original block in black and printed over the previously double-printed impressions to produce the finished prints. The result was an edition of three-color prints in caramel, chocolate, and black, strongly reminiscent of ancient painted pottery, one of Picasso’s great inspirations.","From a set of five progressive working proofs for Le Banderillero. maroon and black image against tan background; blocky, stylized figures; charging bull at R; matador figure driving two swords into bull's neck at L; dark figure at far L holding up an open cape; stylized background with possible audience members","Hidalgo Arnéra, the printer (1922-2007, Vallauris, France); his estate; (Frederick Mulder, Ltd, London); sold to MIA, 2018.","From ","The John E. Andrus III Endowment Fund, the Richard Lewis Hillstrom Fund, the Barbara S. Longfellow Fund for Works on Paper, and gift of funds from Barbara S. Longfellow","2018.36.5","Artist: Pablo Picasso; Printer: Arnéra, Vallauris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",9057,7280,1,"1",0,"Bloch 940; Baer 1225; PP. L-046",,"[""""]","picasso",4.226055,,,,,,,true,,,
"127728","Le Banderillero (pre-first state)","Color linocut"," Prints","21 3/4 × 26 3/8 in. (55.25 × 66.99 cm) (image)
23 5/8 × 29 9/16 in. (60.01 × 75.09 cm) (sheet)","Print","Europe","France",,"1959","Not on View","20th century","","","","This series of proofs reveals Picasso’s working method as he collaborated with master printer Hidalgo Arnéra using the reduction linoleum cut method—a process that seems to have materialized from their partnership. Reduction linocuts involve using a single block to print layers of ink and cutting the block between successive printings. Mia acquired a series of five proofs from Arnéra’s archive. They first engaged with the technique in the summer of 1959, and Picasso became fascinated by its possibilities. After making several small linocuts from this method, he made one larger one, and then threw himself into this large, energetic image of a ""banderillo"" confronting a powerful bull.
A ""banderillo"" is a bullfighter whose role is to thrust darts (""banderillas"") into the bull’s shoulders to anger and weaken the animal before the matador finishes it off. Picasso shows an arena filled with spectators where the lithe ""banderillo"" is doing his job. Behind him, to our left, the matador waves his cape. The bull lunges forward, head lowered with his horns nearly striking the ""banderillo,"" just as the darts strike their target. Abstract lines suggest the many vectors of force and motion in the brutal, balletic scene.
This print is the pre-first state of the first block. The process begins with inking the linoleum block with one nearly solid color, here a caramel-tan, and printing it onto a sheet of paper. This was always intended as a trial proof; so, it is printed on a thin sheet of buff-colored paper. The marks around the edges tell us that the linoleum block was nailed to a backing board.","From a set of five progressive working proofs for Le Banderillero. rectangular field of tan on white sheet; irregular edges simulating paper with tacks","Hidalgo Arnéra, the printer (1922-2007, Vallauris, France); his estate; (Frederick Mulder, Ltd, London); sold to MIA, 2018.","From ","The John E. Andrus III Endowment Fund, the Richard Lewis Hillstrom Fund, the Barbara S. Longfellow Fund for Works on Paper, and gift of funds from Barbara S. Longfellow","2018.36.1","Artist: Pablo Picasso; Printer: Arnéra, Vallauris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",8853,7136,1,"1",0,"Bloch 940; Baer 1225; PP L-046",,"[""""]","picasso",4.211042,,,,,,,,,,
"58319","Le repas frugal","Etching and drypoint"," Prints","18 x 14 5/8 in. (45.72 x 37.15 cm) (plate)","Print","Europe","Spain",,"September 1904 (printed 1913)","Not on View","20th Century","Mark","","WM: [Van Gelder Zonen]","This visual essay on the difference between physical and emotional closeness represents Picasso's first serious engagement with printmaking, an activity that would become a life-long passion. Impressions from the first edition have rich shadows, but impressions from the second edition-shown here-were printed more starkly, completely stripping the image of any romantic warmth.","","","From Saltembanques suite","The William Hood Dunwoody Fund","P.12,302","Artist: Pablo Picasso; Printer: Auguste Delâtre","Artist","Spanish","Spanish (active France), 1881–1973","","European Art","No Copyright–United States","valid",3895,4967,0,"1",1,"Bloch 1; Baer 2ii/ii; G.2 iib/iib; L.47.25;
",,"[""""]","picasso",4.190185,,,,,,,,,,
"22326","Vase","Earthenware, white slip"," Ceramics","25 7/8 x 12 7/8 x 12 7/8 in. (65.72 x 32.7 x 32.7 cm)",,"Europe","Spain",,"1950","Not on View","20th century","Stamp; Inscription; Date
inscribed inside: [Vallauris Mai 50]","","Stamped inside: [Originale de Picasso 15(encircled)] [Madoura Plein Feu]","Pablo Picasso began producing ceramics in 1947 at the Madoura pottery near Nice. There, he discovered a way to create original ceramics in limited editions. Using Picasso's prototypes, Madoura potters would make plaster models. Into these molds, they would press sheets of clay, carefully pull them out, and then form them into vessels of various kinds. The potters would then use glazes to decorate the forms to duplicate Picasso's originals. This vase is stamped inside to indicate it is part of an edition, with the words ""Originale de Picasso 15 (encircled)"" and ""Madoura Plein Feu"".
This vase, with its exuberant inscribed nudes, shows how well this method worked. The red clay of the pot itself was used for the figures, whereas the background was painted with a white liquid clay, or slip, to accentuate the human shapes. The pot's swelling contours also enhance the voluptuousness of the female bodies and show Picasso's delight in merging human anatomy with a functional form.","inscribed female figures; earthenware and white pigments","",,"Gift of Bruce B. Dayton","80.54.4","Artist: Pablo Picasso; Maker: Madoura Pottery, Vallauris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",6330,8863,1,"1",0,,,"[""""]","picasso",3.5968423,,,,,,,,,,
"59807","Le Tricorne (Three-cornered Hat)","Color lithographs, letterpress"," Books","9 15/16 x 7 7/16 in. (25.2 x 18.9 cm)","Illustrated book","Europe","France",,"1920","Not on View","20th century","","","","","32 loose color reproductions; a: Muleteer; b: Bullfighter; c: Old Negro; d: Woman in Mantilla; e: 18th Century Woman; f: Peasant Girl; g: Overture Curtain; h: Backdrop","",,"Gift of Bruce B. Dayton","B.82.13","Artist: after Pablo Picasso; Publisher: Paul Rosenberg & Co.","Artist","Spanish","Spanish (active France), 1881–1973","","European Art","No Copyright–United States","valid",3107,4397,0,"1",1,"Cramer 8",,"[""""]","picasso",3.5474827,,,,,,,,,,
"7573","Dream and Lie of Franco, Plate 2","Etching with sugar-lift aquatint and scraper"," Prints","12 7/16 × 16 5/8 in. (31.59 × 42.23 cm) (plate)
15 1/4 × 22 7/16 in. (38.74 × 56.99 cm) (sheet)","Print","Europe","Spain",,"January 8 and 9, June 7, 1937","Not on View","20th century","","Stamp-signed in black ink, LR margin","","The Dream and Lie of Franco is one of Picasso's most intense and committed political statements. He conceived of the project in January 1937 in response to the attempted overthrow of the democratically elected Spanish Republican government by General Francisco Franco and his Nationalist rebels, whose actions sparked the Spanish Civil War (1936-39).
The portfolio consists of two plates together with a prose poem. Each of the plates features nine vignettes, forming an 18-scene narrative. Picasso worked on the intaglio plates from left to right, but because the images are reversed during printing, they are read from right to left. He adopted a comic strip format and cartoon-like figures to ridicule Franco's cruel exploits in Spain. In one frame, the grotesque general mistakenly kills and devours his own horse. In another, he prays on the altar of money. While in others, he engages in combat with an angry bull, symbolizing Spain.
Three of the last four scenes were completed after German and Italian forces allied with Franco destroyed the Basque town of Guernica in an aerial bombing raid on April 26, 1937. The scenes relate to studies for Picasso's famous anti-war mural Guernica, which immortalized this atrocity. Through his powerful imagery and innovative use of narrative, Picasso transforms the centuries-old tale of the Spanish horseman Don Quixote into a particularly modern and senseless tale.
Issued in an edition of 1,000, the portfolio was intended to reach a large audience, with the proceeds from sales going to fund the Spanish Republicans. It was available for purchase during the debut exhibition of Guernica at the 1937 World's Fair in Paris.","","(David Tunick, New York)","From Sueño y Mentira de Franco (The Dream and Lie of Franco)","The Herschel V. Jones Fund, by exchange","P.79.58.3","Artist: Pablo Picasso; Printer: Atelier Roger Lacourière, Paris, France (etchings)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",2668,2000,1,"1",1,"Bloch 297-98; Ba. 615-16; Cramer books 28",,"[""""]","picasso",3.541173,,,,,,,,,,
"7572","Dream and Lie of Franco, Plate 1","Etching with sugar-lift aquatint and scraper"," Prints","12 3/8 × 16 1/2 in. (31.43 × 41.91 cm) (plate)
15 1/4 × 22 5/16 in. (38.74 × 56.67 cm) (sheet)","Print","Europe","Spain",,"January 8, 1937","Not on View","20th century","","Stamp-signed in black ink, LR margin","","The Dream and Lie of Franco is one of Picasso's most intense and committed political statements. He conceived of the project in January 1937 in response to the attempted overthrow of the democratically elected Spanish Republican government by General Francisco Franco and his Nationalist rebels, whose actions sparked the Spanish Civil War (1936-39).
The portfolio consists of two plates together with a prose poem. Each of the plates features nine vignettes, forming an 18-scene narrative. Picasso worked on the intaglio plates from left to right, but because the images are reversed during printing, they are read from right to left. He adopted a comic strip format and cartoon-like figures to ridicule Franco's cruel exploits in Spain. In one frame, the grotesque general mistakenly kills and devours his own horse. In another, he prays on the altar of money. While in others, he engages in combat with an angry bull, symbolizing Spain.
Three of the last four scenes were completed after German and Italian forces allied with Franco destroyed the Basque town of Guernica in an aerial bombing raid on April 26, 1937. The scenes relate to studies for Picasso's famous anti-war mural Guernica, which immortalized this atrocity. Through his powerful imagery and innovative use of narrative, Picasso transforms the centuries-old tale of the Spanish horseman Don Quixote into a particularly modern and senseless tale.
Issued in an edition of 1,000, the portfolio was intended to reach a large audience, with the proceeds from sales going to fund the Spanish Republicans. It was available for purchase during the debut exhibition of Guernica at the 1937 World's Fair in Paris.","","(David Tunick, New York)","From Sueño y Mentira de Franco (The Dream and Lie of Franco)","The Herschel V. Jones Fund, by exchange","P.79.58.2","Artist: Pablo Picasso; Printer: Atelier Roger Lacourière, Paris, France (etchings)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4600,3123,1,"1",1,"Bloch 297-98; Ba. 615-16; Cramer books 28",,"[""""]","picasso",3.541173,,,,,,,,,,
"7680","Picasso i els Reventos","Color aquatint and etching"," Prints","9 3/8 x 17 1/4 in. (23.81 x 43.82 cm) (image)
20 3/4 x 27 5/8 in. (52.71 x 70.17 cm) (sheet)","Print","Europe","Spain",,"1973","Not on View","20th century","Mirò","","","","printed in three colors, red, green and black","David T. Bennett, Minneapolis; given to MIA, 1986.","From ","Gift of David T. Bennett","P.86.30","Artist: Joan Miró","Artist","Spanish","Spanish, 1893–1983","%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Dupin 588",,"[""""]","picasso",3.2781277,,,,,,,,,,
"96659","Picasso and Braque, Vallauris, France","Gelatin silver print"," Photographs","9 7/8 x 9 13/16 in. (25.08 x 24.92 cm) (image)
14 5/8 x 11 3/16 in. (37.15 x 28.42 cm) (sheet)",,"North America","United States",,"1954","Not on View","20th century","Title, Date, Edition and Stamps","on back, in pencil: [Picasso & Braque, Vallauris 1954]","on back and at LLC: four archive stamps; on back, in pencil: [Ed. 18/30]","","Picasso standing at left, holding two bird sculptures; Braque seated at right reaches for one sculpture; paintings in background","","From ","The William Hood Dunwoody Fund","2006.86.6","Photographer: Lee Miller","Artist","American","American, 1907–1977","Copyright %C2%A9 Lee Miller Archives","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",3.2780988,,,,,,,,,,
"55443","Femme torero. Dernier baiser?","Etching on vellum"," Prints","24 3/4 x 32 1/16 in. (62.87 x 81.44 cm) (sheet)
19 1/16 x 26 7/8 in. (48.42 x 68.26 cm) (plate)","Print","Europe","Spain",,"June 12, 1934","Not on View","20th century","
","Signed in red crayon, LR: Picasso; and on plate: Picasso","Numbered in red crayon, LL: 3/3","Emerging from Spanish tradition, the bullfight is a central and symbolic theme in Picasso’s work. Since the 19th century, women have established successful careers as bullfighters. In this imposing print, Picasso portrays a female torero (bullfighter on horseback), a subject that appeared in his graphic work only briefly in the mid-1930s, with each representation bearing the face of his mistress and model Marie-Thérèse Walter. Among the largest of Picasso’s prints, Femme torero. Dernier baiser' presents the passion, violence, and drama of the bullfight as a metaphor for his deteriorating relationship with his wife, Olga, and his desire for Marie-Thérèse. Here, the torero, her horse, and the bull (representing Picasso) merge into a chaotic whirl of tumbling figures, posing the question: Who will prevail' First printed in 1939, the etching was never formally published, but fifty unsigned impressions are known. Mia’s impression is one of only three printed on vellum (calfskin), the only impressions signed by the artist.","","[Goldschmidt Galleries, New York, until 1957; sold June 14, with ""La Grande corrida, avec femme torero"" (P.12,554), for $2,900, to Mia]",,"The Miscellaneous Works of Art Purchase Fund","P.12,553","Artist: Pablo Picasso; Publisher: Atelier Roger Lacourière, Paris, France; Printer: Atelier Roger Lacourière, Paris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",8276,6450,1,"1",1,"Bloch 1329; Baer 425 and Addendum; Z.234",,"[""""]","picasso",2.8802996,,,,,,,,,,
"124644","Portrait of Ambrose Vollard, II","Sugar-lift, with aquatint and spit-bite etching"," Prints","13 7/16 × 9 1/2 in. (34.13 × 24.13 cm) (plate)
17 5/8 × 13 5/16 in. (44.77 × 33.81 cm) (sheet)
23 × 18 1/2 × 1 1/2 in. (58.42 × 46.99 × 3.81 cm) (outer frame)","Print","Europe","France",,"1937 (printed and published 1939)","Not on View","20th century","","LRC, in pencil: Picasso","","Art dealer Ambrose Vollard was a powerful figure in Picasso’s life. He gave him his first exhibition, and in 1930, he commissioned the production of 100 etchings that became known as the ""Suite Vollard."" Picasso showed his respect by producing several portraits of his patron: a cubist painting, and three etchings, which belonged to the Suite. In this likeness, one senses the toughness and determination that Vollard brought to his business.","head of a man, turned slightly toward PR; balding, with a short beard; squinting eyes; downturned mouth; dark jacket","Bruce B. Dayton, Wayzata, Minn.; Estate of Bruce B. Dayton; bequeathed to MIA, 2016","From Vollard Suite","Bequest of Bruce B. Dayton","2016.33.38","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Bloch 231; Baer 618.B.d",,"[""""]","picasso",2.8086126,,,,,,,,,,
"6092","The Horse, from Histoire Naturelle (Natural History)","Lift-ground aquatint and etching"," Prints",,"Print","Europe","Spain",,"1942","Not on View","20th century","","","","","","",,"Gift of Bruce B. Dayton","B.87.1a","Artist: Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Publisher: Martin Fabiani, Paris","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4583,5754,1,"1",1,,,"[""""]","picasso",2.7787242,,,,,,,,,,
"6094","The Cow from Histoire Naturelle (Natural History)","Lift-ground aquatint, etching, drypoint"," Prints",,"Print","Europe","Spain",,"1942","Not on View","20th century","","","","","","",,"Gift of Bruce B. Dayton","B.87.1c","Artist: Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Publisher: Martin Fabiani, Paris","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4472,5896,1,"1",1,,,"[""""]","picasso",2.7787242,,,,,,,,,,
"6093","The Donkey, from Histoire Naturelle (Natural History)","Lift-ground aquatint and etching"," Prints",,"Print","Europe","Spain",,"1942","Not on View","20th century","","","","","","",,"Gift of Bruce B. Dayton","B.87.1b","Artist: Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Publisher: Martin Fabiani, Paris","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4484,5912,1,"1",1,,,"[""""]","picasso",2.7787242,,,,,,,,,,
"45516","Contrée","Etching, letterpress; bound volume"," Prints; Books","11-1/4 x 7-1/4 x 3/8 in. (28.6 x 18.4 x 1.0 cm)","Illustrated book","Europe","France",,"1944","Not on View","20th century","","","","","","Ruth and Bruce Dayton, Wayzata",,"Gift of Ruth and Bruce Dayton","2001.95.3","Artist: Pablo Picasso; Author: Robert Desnos; Publisher: Robert J. Godet, Paris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4747,3510,1,"1",1,"Baer 689; Cramer 39",,"[""""]","picasso",2.7749195,,,,,,,,,,
"58312","Les deux saltimbanques","Drypoint"," Prints","4 5/8 x 3 1/2 in. (11.75 x 8.89 cm) (image)","Print","Europe","Spain",,"1905 (published 1913)","Not on View","20th century","","in plate, UL: [Picasso]","","","","(R.G. Michel, Paris); sold to MIA, 1978","from Saltembanques suite (15 prints)","Gift of Miss Perrie Jones, by exchange","P.78.6.14","Artist: Pablo Picasso; Publisher: Ambroise Vollard; Printer: Louis Fort, Paris, France","Artist","Spanish","Spanish (active France), 1881–1973","","European Art","No Copyright–United States","valid",3247,4521,0,"1",0,"Baer 6",,"[""""]","picasso",2.7749195,,,,,,,,,,
"55432","La Grande corrida, avec femme torero","Etching on vellum"," Prints","23 7/8 x 21 7/16 in. (60.64 x 54.45 cm) (sheet)
18 7/8 x 26 7/16 in. (47.94 x 67.15 cm) (plate)","Print","Europe","Spain",,"September 8,1934","Not on View","20th century","
","Signed in red crayon, LR: Picasso","Numbered in red crayon, LL: 3/3","Emerging from Spanish tradition, the bullfight is a central and symbolic theme in Picasso’s work. Since the 19th century, there have been women with legendary careers as bullfighters. Picasso’s female bullfighter appeared in his work only between 1933 and 1935, with each representation bearing the face of his mistress Marie-Thérèse Walter. Among Picasso’s largest prints, La Grande corrida presents the passion, violence, and drama of the bullfight as a metaphor for his deteriorating relationship with his wife, Olga, and his desire for Marie-Thérèse. First printed in 1939, the etching was never formally published, but fifty unsigned impressions are known. Mia’s impression is one of only three printed on vellum (calfskin).","","[Goldschmidt Galleries, New York, until 1957; sold June 14, with ""Femme torero. Dernier baiser'"" (P.12,553), for $2,900, to Mia]",,"The Miscellaneous Works of Art Purchase Fund","P.12,554","Artist: Pablo Picasso; Publisher: Atelier Roger Lacourière, Paris, France; Printer: Atelier Roger Lacourière, Paris, France","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",5334,3960,1,"1",1,"Bloch 1330; Baer 433 and Addendum",,"[""""]","picasso",2.7707307,,,,,,,,,,
"55442","Portrait of D. H. Kahnweiler II","Lithograph"," Prints","25 7/8 x 20 in. (65.7 x 50.8 cm)","Print","Europe","Spain",,"1957","Not on View","20th century","","in pencil: Picasso","","","","","From ","Gift of funds from Mr. and Mrs. Hall Peterson, 1966","P.13,802","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Mourlot 296; Bloch 835",,"[""""]","picasso",2.7634556,,,,,,,,,,
"55449","Portrait of D. H. Kahnweiler I","Lithograph"," Prints","25 3/4 x 20 in. (65.41 x 50.8 cm) (sheet)","Print","Europe","Spain",,"1957","Not on View","20th century","Signature","in pencil: [Picasso]","","","","","From ","Gift of Kate and Hall J. Peterson, by exchange","P.78.6.16","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Mourlot 295",,"[""""]","picasso",2.7634556,,,,,,,,,,
"13148","Pigeon et ses Petits","Lithograph"," Prints","H.15-7/8 x W.20-3/4 in.","Print","Europe","Spain",,"1947","Not on View","20th century","","Signed in pencil, LL: Picasso","Numbered in pencil, LL","","","(Peter Deitsch Gallery, New York, until 1962, sold to Hillstrom); Rev. Richard Lewis Hillstrom, Minneapolis, 1962-2000; given to MIA.","From ","Gift of Richard Lewis Hillstrom in honor of Dr. Frank Indihar","2000.238.2","Maker: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Bloch 433; Mourlot 72; Reuße 196",,"[""""]","picasso",2.7611258,,,,,,,,,,
"58307","Portrait of Ambroise Vollard, III","Etching"," Prints","Image: 13-1/2 x 9-1/2 in. (34.3 x 24.1 cm)","Print","Europe","Spain",,"1937 (printed and published 1939)","Not on View","20th century","","Signed LR, in pencil: Picasso","","","","[Goldschmidt Galleries, New York, until 1956; sold August 1, with ""Portrait of Ambrose Vollard, II"" (P.12,494), for $400, to Mia]","From Vollard Suite","The Miscellaneous Works of Art Purchase Fund","P.12,495","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Bloch 233; Baer 619 B.c.; V. 100",,"[""""]","picasso",2.7611258,,,,,,,,,,
"65372","Pitcher","Glazed earthenware"," Ceramics","10 1/2 x 7 5/16 x 5 1/4 in. (26.67 x 18.57 x 13.34 cm)","Pitcher","Europe","Spain",,"c. 1950","Not on View","20th century","Signature, Inscription and Stamp","on bottom, in black: [EDITION/ PICASSO/ MADOURA]","on bottom, two stamps: on illegible stamp + [EDITION/ PICASSO]","","jug with ring base; rounded bottom with long, outward-tapering neck; long, thick handle; white body; black, white, blue and brown; decorated to resemble an owl","","From ","Gift of Kenneth and Margery Carpenter","2002.263","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Decorative Arts, Textiles and Sculpture","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.760598,,,,,,,,,,
"95958","Vase","Glazed earthenware"," Ceramics","11 1/2 x 5 15/16 x 5 15/16 in. (29.21 x 15.08 x 15.08 cm)","Vase","Europe","Spain",,"1952","Not on View","20th century","Inscription and Stamp
on bottom, in black: [MADOURA / 22/100 / EDITION PICASSO]","","on bottom, stamped: [EDITION / PICASSO] and illegible stamp","","wide-mouthed vase, flaring out and in near base, with slightly flaring mouth; two-sided design with large owls in brown and black on white; scattered incised details","","From ","Gift of Kenneth and Margery Carpenter","2004.239","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Decorative Arts, Textiles and Sculpture","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.760598,,,,,,,,,,
"19468","Stirrup jar","Earthenware, slip, and incised decoration"," Ceramics","H.21 x Di.10-3/4 in.","Stirrup jar","Europe","Spain",,"c. 1950","Not on View","20th century","","","","","Two handles, the base depicting a woman's head","","From ","Gift of Dr. and Mrs. Arnold J. Kremen","68.71","Maker: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Decorative Arts, Textiles and Sculpture","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.7604628,,,,,,,,,,
"55450","Portrait of D.H. Kahnweiler III","Lithograph on cream paper"," Prints","25 3/4 x 20 in. (65.4 x 50.8 cm)","Print","Europe","Spain",,"1957","Not on View","20th century","","Signed in red crayon, LL: Picasso","Numbered in pencil, LLC: 28/50","","Portrait of Daniel Henry Kahnweiler (third version), German-born writer, publisher, art dealer, and pioneering champion of Cubism.","(David Tunick, Inc., New York); sold to MIA, 1979.","From ","The Miscellaneous Works of Art Purchase Fund (Claims on losses)","P.79.107","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",1,"Mourlot 297; Bloch 836",,"[""""]","picasso",2.758796,,,,,,,,,,
"45437","Bunch with Apple","Glazed earthenware"," Ceramics","7/8 x 9-3/4 x 9-3/4 in. (2.2 x 24.8 x 24.8 cm)",,"Europe","Spain",,"January 22, 1956","Not on View","20th century","\""22.1.56 [backwards]\"", impressed on bottom edge on upper surface","","\""EMPREINTE/ORIGINALE DE/PICASSO\"" and \""MADOU [illegible]\"", stamped, on bottom","","slightly squared plate decorated with 3 flowers in a vase and an apple with leaves; green, blue and yellow glazes on apple; white ground","","From ","Gift of Kenneth and Margery Carpenter","2001.88","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Decorative Arts, Textiles and Sculpture","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.758796,,,,,,,,,,
"58313","Portrait of Ambrose Vollard, II","Sugar-lift, with aquatint and spit-bite etching"," Prints","Image Size: 13-1/2 x 9-1/2 in. (34.3 x 24.1 cm)","Print","Europe","Spain",,"1937 (printed and published 1939)","Not on View","20th Century","","Signed LR, in pencil: Picasso","","","","[Goldschmidt Galleries, New York, until 1956; sold August 1, with ""Portrait of Ambrose Vollard, III"" (P.12,495), for $400, to Mia]","From Vollard Suite","The Miscellaneous Works of Art Purchase Fund, 1956","P.12,494","Artist: Pablo Picasso","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Bloch 231; Baer.618.B.c",,"[""""]","picasso",2.758796,,,,,,,,,,
"80858","Revue Verve: Picasso and the Human Comedy or the Avatars of Fat-Foot","Color lithographs, heliogravures, and letterpress; bound periodical"," Books","14 1/4 x 10 1/2 in. (36.2 x 26.67 cm)","Periodical","Europe","Spain",,"1954","Not on View","20th century","","","","","English language edition of Revue Verve, Vol. VIII, No. 29/30; binding: color-printed design and lettering; paper over cardboard; endpapers: white wove; 190 pp.","","From ","Gift of the Estate of Dorothy Millett Lindeke","B.87.4.54","Artist: Pablo Picasso; Author: Michael Leiris; Publisher: Harcourt, Brace, Jovanovich Inc., New York; Publisher: Éditions de la Revue Verve, Paris; Printer: Draeger Frères, Paris, France , Paris; Printer: Mourlot Freres, Paris","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",1,,,"[""""]","picasso",2.3664465,,,,,,,,,,
"6056","Le chef d'oeuvre Inconnu (The Unknown Masterpiece)","Etchings, wood engravings, letterpress"," Books","13 x 10 in. (33.02 x 25.4 cm) (sheet)
7 9/16 x 10 7/8 in. (19.21 x 27.62 cm) (image)","Illustrated book","Europe","Spain",,"1931","Not on View","20th century","Signature, Edition, Watermark
Numbered in pencil on colophon page: [95/240]","Signed in pencil on the colophon page","Watermark: ","Interspersed within the text are 13 original etchings created specifically by Picasso for this book. All deal directly or indirectly with the subject of an artist and his model. In this etching the bull, like the artist, is male and the horse, his female model, both engaged in a stand-off in which the bull clearly dominates. Picasso often used the bull as a symbol of the artistic prowess of the artist in the studio.","12 etchings by Picasso and 67 wood engravings after drawings by Picasso","(Goldschmidt Galleries, New York); sold to MIA, 1980.",,"The Bruce B. Dayton Fund","B.80.11","Artist: Pablo Picasso; Author: Honoré de Balzac; Publisher: Ambroise Vollard; Woodcutter: Wood engraving by Georges Aubert, Paris, France; Printer: Louis Fort, Paris, France (etchings); Printer: Georges Aubert, Paris, France (wood engravings); Printer: Aimé Jourde, Paris, France , (text and typography)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3110,3982,1,"1",1,"Cramer 20; Boston 225; MoMA 163; Skira 293; Rauch 53; Vollard 191; Horodisch 38-39; V&A 92; B. 82-94 and bk. no. 19; Goeppert 20; Artist and the Book 225; Century of Artists Books 28; Stern 86; Johnson 54",,"[""""]","picasso",2.244442,,,,,,,,,,
"6091","Histoire naturelle: Eaux-fortes originales pour les textes de Buffon (Natural History: Original Etchings for Buffon's Text)","Illustrated book with thirty-one aquatints (thirteen with drypoint, thirteen with etching and drypoint, three with engraving and drypoint, and one with etching, engraving, and drypoint); and letterpress printed in black and red"," Prints; Books","14 3/8 × 11 in. (36.51 × 27.94 cm) (sheet)
28 7/8 × 22 7/8 × 1 1/2 in. (73.34 × 58.1 × 3.81 cm) (outer frame, B.87.1m)","Illustrated book","Europe","Spain",,"1936 (published 1942)","Not on View","20th century","","Signed in pencil on the colophon page: Picasso","Numbered on colophon page: 76/226","In 1936, the Parisian publisher Ambrose Vollard commissioned Picasso to create a suite of etchings to illustrate texts from Histoire naturelle (Natural History), the encyclopedic eighteenth-century publication written by renowned French naturalist and author Georges Louis Leclerc, the comte de Buffon. Using a range of intaglio techniques that included etching, drypoint, and lift ground aquatint, a process that allowed for subtle gradations of tone, Picasso created a personal menagerie of animals, birds, and insects for the project. The 31 etched plates were printed in 1937, but the project was postponed after the unexpected death of Vollard in 1939. Vollard's associate Martin Fabiani later revived the project and the volume was published in 1942. A highly prolific printmaker, Picasso completed more than 34,000 illustrations during his long career. Histoire naturelle ranks among his most engaging graphic works.","Illustrated book, unbound with 31 plates, housed in green paper over boards chemise, and green paper over boards slipcase; artist and author name on spine of chemise","Bruce B. Dayton, Wayzata, MInn.; given to MIA, 1987.",,"Gift of Bruce B. Dayton","B.87.1","Artist: Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Printer: Atelier Roger Lacourière, Paris, France , (prints); Printer: Fequet et Baudier, Paris, France , (text); Publisher: Martin Fabiani, Paris","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4501,5929,1,"1",1,"Bloch 328–358, Baer 575–605, Cramer 37",,"[""""]","picasso",2.2150848,,,,,,,,,,
"96760","Pablo Picasso in his rue des Grands Studio, Paris","Gelatin silver print"," Photographs","13 5/16 x 10 3/16 in. (33.81 x 25.88 cm)","Photograph","North America","United States",,"c. 1950","Not on View","20th century","Inscription and Stamp
on back, in pencil and blue ink: [P. Picasso], [Gift of Sanford H. Roth / 11/23/54 / RB54.1 (2)], [L54.182.1] and other various notations","","on back, stamped in red: [THIS PHOTOGRAPH / NOT FOR REPRODUCTION / WITHOUT WRITTEN AUTHORIZATION / Sanford H. Roth]","","portrait of Picasso, wearing a cap, sweater, shirt and tie, with arms crossed, holding a cigarette in his PR hand","",,"Gift of Sanford H. Roth, Transfer from the Record Book Collection","2005.34.2","Photographer: Sanford H. Roth","Artist","American","American, 1906 - 1962","%C2%A9 Estate Sanford H. Roth","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.1925116,,,,,,,,,,
"96759","Pablo Picasso in his rue des Grands Studio, Paris","Gelatin silver print"," Photographs","13 1/2 x 10 1/4 in. (34.29 x 26.04 cm)","Photograph","North America","United States",,"c. 1950","Not on View","20th century","Inscription and Stamp
on back, in pencil: [P. Picasso], [Gift of Sanford H. Roth / 11/23/54 / RB54.1 (1)] and [L54.182.2]","","on back, stamped in red: [THIS PHOTOGRAPH / NOT FOR REPRODUCTION / WITHOUT WRITTEN AUTHORIZATION / Sanford H. Roth]","","Picasso, wearing a sweater, shirt and tie, and holding a cap and a cigarette, in front of a sculpture of a girl; bottles in LRC; window behind sculpture","",,"Gift of Sanford H. Roth, Transfer from the Record Book Collection","2005.34.1","Photographer: Sanford H. Roth","Artist","American","American, 1906 - 1962","%C2%A9 Estate Sanford H. Roth","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.176858,,,,,,,,,,
"6098","Title page from Le Chant des Morts (The Song of the Dead)","Lithograph in red ink; facsimiles of handwritten text"," Books",,"Title page",,,,"1948","Not on View","20th century","","","","Le Chant des Morts was Picasso's only book project with the Greek publisher and critic Tériade. The 43 poems by Pierre Reverdy, a writer and critic associated with the Surrealist movement, had just been completed in 1945 and called for a radical, new type of illustration. In the manner of old illuminated manuscripts, Picasso encircled the text with scroll-like lines, many resembling oriental calligraphy. The abstracted designs are like timeless symbols, reflecting the almost religious character of Reverdy's poems. Prior to this, no one had considered illustrating a modern text with such bold and unconventional markings.","","","From ","Gift of Bruce B. Dayton","B.88.2.3","Artist: Pablo Picasso; Author: Pierre Reverdy","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.1245575,,,,,,,,,,
"80857","De Mémoire d'Homme (In Living Memory)","Lithographs, letterpress"," Books","12 7/8 x 9 3/4 in. (32.7 x 24.77 cm)","Illustrated book","Europe","Spain",,"1950","Not on View","20th century","","","","","","","From ","Gift of Bruce B. Dayton","B.83.16","Artist: Pablo Picasso; Author: Poems by Tristan Tzara; Publisher: Bordas, Paris, France; Lithographer: Printed by Mourlot Freres, Paris (lithographs); Printer: George Girard, Paris, France (text and typography)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3270,4249,1,"1",1,"Cramer 59; Boston 234; Horodisch B15; Rauch 79",,"[""""]","picasso",2.0893693,,,,,,,,,,
"59844","Carmen","Engravings with burin, lift ground aquatints, and letterpress"," Books","13 1/16 x 10 5/16in. (33.2 x 26.2cm)","Illustrated book","Europe","Spain",,"1949","Not on View","20th century","Mark","","Watermark: ","","38 engravings; contained in an Arches wove wrapper inside a cardboard folder with lettering on the front; slip case: papier peigne and cloth-covered protective boards with lettering on the spine","(Martin Sumers Graphics, New York); sold to MIA, 1984.","From ","Gift of Bruce B. Dayton","B.84.3","Artist: Pablo Picasso; Author: Prosper Mérimée; Publisher: La Bibliotèque Française; Printer: Atelier Lacourière et Frélaut, Paris, France (engravings, aquatints); Printer: Imprimerie Union, Paris , (text and type)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3274,4108,1,"1",1,"Cramer 52",,"[""""]","picasso",2.0855646,,,,,,,,,,
"6085","Corps Perdu (Lost Body)","Engravings, etchings, etching with drypoint, aquatints, letterpress"," Books","15 9/16 x 11 1/4in. (39.5 x 28.6cm)","Illustrated book","Europe","Spain",,"1950","Not on View","20th century","Mark","","Watermark: ","","","(Goldschmidt Galleries, New York); sold to MIA, 1986.",,"Gift of Bruce B. Dayton","B.86.1a-d","Artist: Pablo Picasso; Author: Poems by Aimé Césaire; Publisher: Éditions Fragrance , Paris; Printer: Pierre Bouchet, Paris, France (text and typography); Printer: Atelier Roger Lacourière, Paris, France (prints)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3535,4821,1,"1",1,"Cramer 56; Rauch 75; Matarasso 54; Horodisch 71; The Artist and the Book 233",,"[""""]","picasso",2.0855646,,,,,,,,,,
"6096","Le Chant des Morts (The Song of the Dead)","Lithographs in red; facsimiles of artist's handwritten text; issued loose in wrappers"," Prints; Books","16 3/4 x 12 13/16 in. (42.55 x 32.54 cm)","Illustrated book","Europe","Spain",,"September 30, 1948","Not on View","20th century","Signature; Mark
in pencil on justification page","","Watermark: ","","125 Lithographs in red of varying sizes, two on cover and 123 for the text; binding: loose in Arches wove wrappers with 2 lithographs on the front and back cover and spine; beige paper-covered protective boards with title panel pasted to the spine; slip case: beige paper-covered slip case","(Elizabeth Phillips, New York); sold to MIA, 1988.",,"Gift of Bruce B. Dayton","B.88.2.1","Artist: Pablo Picasso; Author: Poems by Pierre Reverdy; Publisher: Tériade, Paris, France; Printer: Draeger Frères, Paris, France , (text and type); Lithographer: Printed by Mourlot Freres, Paris (lithography)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3438,4462,1,"1",1,"Cramer 50; Horodisch- all",,"[""""]","picasso",2.0817602,,,,,,,,,,
"43211","Hibou, verre at fleur","Color lithograph"," Prints","27 1/8 x 19 1/8in. (68.9 x 48.6cm)","Poster","Europe","Spain",,"1956","Not on View","20th century","Signature; Inscription (printed)
Poster text: Galerie 65 / Cannes / Picasso / 14 Aout - 30 Septembre 1956","Signed on the stone: Picasso","","","","Barbara M. Kaerwer, Eden Prairie, Minn.; given to MIA, 1991.","From ","Gift of Barbara Kaerwer","P.91.36","Artist: Pablo Picasso; Publisher: Mourlot Freres, Paris","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Bloch 1272; Mourlot 282; Czwiklitzer 21",,"[""""]","picasso",2.077738,,,,,,,,,,
"6099","Page from Le Chant des Morts (The Song of the Dead)","Lithograph in red ink; facsimiles of handwritten text"," Books",,,,,,"1948","Not on View","20th century","","","","","","","From ","Gift of Bruce B. Dayton","B.88.2.4","Artist: Pablo Picasso; Author: Pierre Reverdy","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.0749125,,,,,,,,,,
"6097","Cover from Le Chant des Morts (The Song of the Dead)","Lithograph in red ink; facsimiles of handwritten text"," Books",,"Cover","Europe","Spain",,"1948","Not on View","20th century","","","","","","","From ","Gift of Bruce B. Dayton","B.88.2.2","Artist: Pablo Picasso; Author: Pierre Reverdy","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",2.0749125,,,,,,,,,,
"58305","Le Peintre et son Modèle","Lithograph"," Prints","9 1/8 x 11 1/2 in. (23.18 x 29.21 cm)","Print","Europe","Spain",,"1930","Not on View","20th century","","Unsigned","","","","(Associated American Artists, New York); sold to MIA, 1979.","From ","The Ethel Morrison Van Derlip Fund","P.79.67","Artist: Pablo Picasso; Printer: L'Atelier Desjobert, Paris","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",1,"Bloch 98; Geiser 247; Mourlot XXVII; Reusse 31; see Cramer books 18",,"[""""]","picasso",2.0730102,,,,,,,,,,
"59845","La Celestine (Carlota Valdivia)","Etchings, aquatints, letterpress; bound volume"," Books","8 1/4 x 6 5/8in. (21 x 16.8cm)","Illustrated book","Europe","Spain",,"1971","Not on View","20th century","Mark","","Watermark: ","","66 etchings; type: Garamond Corps 10","(M. Knoedler & Co., New York); sold to MIA, 1974.",,"The Bruce B. Dayton Fund","B.74.1","Artist: Pablo Picasso; Author: Text attributed to Fernando de Rojas; Publisher: Editions de l'Atelier Crommelynck, Paris, France; Printer: Fequet et Baudier, Paris, France (text and typography); Printer: Atelier Crommelynck, Paris (etchings)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4655,2787,1,"1",1,"Cramer 149",,"[""""]","picasso",1.7896389,,,,,,,,,,
"80856","Lysistrata","Etchings, collotypes, and letterpress; bound volume"," Books","11 3/4 x 9 7/16 in. (29.85 x 23.97 cm)","Illustrated book","Europe","Spain",,"1934","Not on View","20th century","Signature and Mark
see Signed","","Watermark: ","","Binding: paper with collotype (?) designs in brown, red, and blue; brown label attached, printed lettering; endpapers: white wove; slip case: paper over cardboard inner sleeve, blue, stamped lettring; lined with designs matching book sides, slip case of paper over cardboard, blue; type: Linotype Caslon; 118 pp.","",,"Gift of Bruce B. Dayton","B.80.6","Artist: Pablo Picasso; Author: Aristophanes; Translator: Gilbert Seldes; Publisher: The Limited Editions Club; Printer: The Limited Editions Club (text, typography, and reproductions); Printer: Atelier Lacourière et Frélaut, Paris, France (etchings)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3600,4646,1,"1",1,"Cramer 24; Boston 226; Skira 294; Rauch 56",,"[""""]","picasso",1.7896389,,,,,,,,,,
"109734","Le Chef-d'oeuvre inconnu","Etchings, wood engravings, letterpress, with hand-painted gouache decorations on endleaves, chemise and slipcase; bound volume"," Drawings; Books; Works on Paper","13 1/2 x 10 1/2 x 2 1/2 in. (34.29 x 26.67 x 6.35 cm)","Illustrated book","Europe","France",,"1931","Not on View","20th century","","Signed by John Graham in black ink, LC of right-hand front endpaper: GRAHAM","Binding designer\'s name stamped in gold leaf on inside front cover at bottom: Marrianne","This deluxe illustrated edition of Balzac’s Le Chef-d’oeuvre inconnu (The Unknown Masterpiece) is the collective product of a group of accomplished artists, writers, printers, and a visionary publisher working both individually and in concert to create a work of art of intellectual vigor, conceptual complexity, and compelling visual beauty. Ostensibly a limited-edition illustrated book with graphics by Picasso, the volume is in reality a rare example of creative “collaboration” in which a prominent artist—the American modernist painter John D. Graham—contributes original art to a work by another prominent artist.
The original volume was published in 1931 by Ambroise Vollard, the renowned Parisian publisher who had in 1926 enlisted Picasso to produce a series of etchings for this exclusive edition of Balzac’s novel, which also featured wood engravings by Georges Aubert after Picasso’s drawings. Vollard’s publication represents the definitive version of Balzac’s Le Chef-d’oeuvre inconnu, first issued by the author in 1837. Considered Balzac’s personal declaration of aesthetic faith, the short story explores the common problem facing artists caught between the creative impulse and the pursuit of formal and technical perfection. The story concerns the decade-long quest of an old painter named Frenhofer, who struggles to complete his ultimate masterpiece, a painting of a young model that he titled La belle noiseuse (The Beautiful Troublemaker). Despite his heroic efforts, Frenhofer is unable to attain absolute perfection and when he realizes that his artist friends see nothing in the painting, he burns his canvas and dies a madman.
Perhaps not surprisingly, Picasso was fascinated by Balzac’s story of creative passion and inner struggle, to the degree that he eventually moved into a Paris studio where, in Balzac’s novel, Frenhofer had met the young French artist Nicolas Poussin. Interestingly, Picasso’s etchings for the book, which were completed in 1927, do not illustrate Balzac’s story, but instead explore th","Leather bound book with additional leather chemise folded over covers; separate slipcase; slipcase and chemise hand-painted with mostly abstract designs (c. 1942) both geometric and organic; predominately light blue, brown, black, red, yellow; bird-like figures on front of book; face-like sun on back; front and back endleaves of book painted similarly 12 etchings by Picasso and 67 wood engravings after drawings by Picasso Hand-painted decorations by John D. Graham.","(Sotheby's, New York, November 17-19, 1993, no. 759, bought in, sold privately to Harrison); Alfred and Ingrid Lenz Harrison, Wayzata, Minn., 1993-2012; given to MIA.",,"Gift of Alfred and Ingrid Lenz Harrison","2012.60a-c","Artist: Illustrations by Pablo Picasso; Author: Honoré de Balzac; Artist: Hand-painted chemise, slipcase, and endleaves by John Graham; Engraver: Wood engravings by Georges Aubert, Paris, France; Book Binder: Marrianne; Publisher: Ambroise Vollard; Printer: Louis Fort, Paris, France (etchings); Printer: Georges Aubert, Paris, France (wood engravings); Printer: Aimé Jourde, Paris, France (text, typography)","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3691,4669,1,"1",1,"Cramer 20; Boston 225; MoMA 163; Skira 293; Rauch 53; Vollard 191; Horodisch 38-39; V&A 92; B. 82-94 and bk. no. 19; Goeppert 20; Artist and the Book 225; Century of Artists Books 28; Stern 86; Johnson 54",,"[""""]","picasso",1.6415701,,,,,,,,,,
"59843","Vingt poèmes de Góngora (Twenty Poems by Góngora)","Etchings and lift-ground aquatints; letterpress; bound volume"," Prints; Books","14 7/8 x 10 5/8in. (37.8 x 27cm)","Illustrated book","Europe","Spain",,"1948","Not on View","20th century","Mark","","Watermark: ","","41 etchings; binding: morocco with color leather inlays, P.L. Martin, 1958; endpapers: suede; slip case: suede coverguard & slip case, edged in leather","(Goldschmidt Galleries, New York); sold to MIA (gift of funds), 1981.",,"Gift of Bruce B. Dayton","B.81.4","Artist: Pablo Picasso; Author: Poems by Luis de Góngora y Argote; Translator: Z. Millner; Publisher: Les Grands Peintres, Modernes et le Livre, Paris, France; Printer: Fequet et Baudier, Paris, France , (text); Printer: Atelier Roger Lacourière, Paris, France , (etchings); Book Binder: Pierre-Lucien Martin","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",3416,4515,1,"1",1,"Goeppert, Goeppert-Frank & Cramer 51; Horodisch A10 67-70;",,"[""""]","picasso",1.4430592,,,,,,,,,,
"82367","Les Bleus de Barcelone","Color lithographs heightened with pochoir, one aquatint with etching, letterpress; bound folio with loose plates"," Prints; Books; Works on Paper","22 1/4 x 17 1/4 in. (56.52 x 43.82 cm)","Album","Europe","Spain",,"1963","Not on View","20th century","","Signed in pencil on colophon page: Picasso. Signed in the plates: Picasso","Numbered in pencil on colophon page: 7/500. Aquatint with etching (part of deluxe edition) numbered in pencil, LL: 7/75. Each plate numbered in pencil on the mount, LL","","Portfolio of 8 text leaves and 12 reproductions of watercolors and pastels, with one original aguatint with etching, housed in a folding blue cloth box with pochoir-illustrated upper cover","Mrs. Patrick Butler, St. Paul; given to MIA, 1967.","From ","Gift of Mrs. Patrick Butler","67.32.1","Artist: after Pablo Picasso; Author: Preface by Jaime Sabartès; Printer: Atelier Crommelynck, Paris; Colorist: Daniel Jacomet et Cie, Paris; Publisher: Au Vent d'Arles","Artist","Spanish","Spanish (active France), 1881–1973","%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,"Bloch 1130; Cramer books 122",,"[""""]","picasso",1.0674566,,,,,,,,,,
"127579","Du Cubisme","Illustrated book with etchings, drypoints, aquatints, photogravures, and letterpress; pages loose as issued"," Prints; Books","10 × 8 in. (25.4 × 20.32 cm) (page, each, irreg.)
10 11/16 × 8 13/16 × 1 1/8 in. (27.15 × 22.38 × 2.86 cm) (book, closed)
","Illustrated book","Europe","France",,"1947","Not on View","20th century","","","Numbered: 429","","Illustrated book with 11 etchings, drypoints and aquatints, circa 1907-47, hors-texte, title page, text in French, and justification, on pur fil Lana, copy 429 of 435 the (first 35 of which were on different papers and included various additional suites, there were also 20 in Roman numerals; loose as issued In wrappers with lettering on front; text and black-and-white intaglio prints by various artists; 79 pages, 11 plates; tan cardboard slipcase; tan cardboard cover with label on spine","Joseph E. Dietzgen, Cotuit, Mass.; Estate of Joseph Dietzgen, by descent to Lisa and David Erickson, Minneapolis; given to MIA, 2017.","From ","Gift of Lisa and David Erickson","2017.150.6a-x","Author: Avant-propos by Albert Gleizes; Author: Epilogue by Jean Metzinger; Artist: after Georges Braque; Artist: after André Derain; Artist: Marcel Duchamp; Artist: Albert Gleizes; Artist: after Juan Gris; Artist: Marie Laurencin; Artist: after Fernand Léger; Artist: Jean Metzinger; Artist: Francis Picabia; Artist: Pablo Picasso; Artist: Jacques Villon; Printer: Compagnie Française des Arts Graphiques, Paris; Publisher: Compagnie Française des Arts Graphiques, Paris","Artist","French","French, 1881 - 1955","%C2%A9 1947 Compagnie Fran%C3%A7aise des Arts Graphiques","Prints and Drawings","In Copyright","invalid","","",1,"1",1,"Cramer (Picasso Books) 46; Monod 5476; Artists' Books in the Modern Era, 122; The Artist & the Book 1860-1960, 89",,"[""""]","picasso",0.7065467,,,,,,,,,,
"108864","Drapery Study","Red chalk on laid paper"," Drawings","10 5/16 x 7 1/2 in. (26.19 x 19.05 cm) (sheet)","Drawing","Europe","France",,"1711","Not on View","18th century","on verso, bottom edge, in pencil: 188-17 P ITEM PART THREE Picart C71","LRC, in pencil: B. Picart 1711","","An accomplished engraver and draftsman from Paris, Bernard Picart settled in Amsterdam, where he converted to the Protestant faith and was active as a book illustrator. This bold and fresh drapery study was executed by Picart in preparation for an engraving that appeared in a book dated 1711.","drapery over back and PL arm of a kneeling figure; very light, very sketchy head and hand","(Alister Mathews, Bournemouth; sold to Moir); Alfred Moir, Santa Barbara, before 1994-2009; given to MIA, 2009.","From ","Gift of Professor Alfred Moir","2009.82.3","Artist: Bernard Picart","Artist","French","French, 1673 - 1733","","European Art","Public Domain","valid",4221,2713,0,"1",1,,,"[""""]","picasso",0.61460185,,,,,,,,,,
"1810","Phaeton asks his Father Phoebus for the Sun’s Chariot","Pen and brown ink with wash over black chalk on paper"," Drawings","6 7/8 x 8 5/8 in. (17.46 x 21.91 cm)","Drawing","Europe","France",,"17th century","Not on View","17th century","","","Watermark: (Foolscap cf.) Heawood (1997)","","","(Bernard Houthakker, Amsterdam); sold to MIA, 1970.",,"The David M. Daniels Fund","70.51","Artist: Bernard Picart","Artist","French","French, 1673 - 1733","","European Art","Public Domain","valid",4117,3240,0,"1",0,,,"[""""]","picasso",0.61460185,,,,,,,,,,
"67120","Picabia II (Forgot)","Lithograph with handwork over half-tone images; collage"," Prints","55 x 40 in. (139.7 x 101.6 cm) (sheet)","Print","North America","United States",,"1971","Not on View","20th century","Signature; Date","lower edge, center","","","the heart is a collage printed in red from a photolithograph of a wash drawing","",,"Gift of Mrs. and Mrs. Russell Cowles II","P.79.86","Artist: Jim Dine; Publisher: Petersburg Press Ltd., London , Ernie Donagh","Artist","American","American, born 1935","%C2%A9 Jim Dine %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",7217,10504,1,"1",0,"K.44",,"[""""]","picasso",0.5409724,,,,,,,,,,
"75611","The Supplemental Magazine","Hand-colored etching"," Prints","12 x 18 in. (30.48 x 45.72 cm) (plate)","Print","Europe","England",,"January 1, 1786","Not on View","18th century","Signature","signed: [RR] (back to back)","","","Caricature","","From ","The Minnich Collection
The Ethel Morrison Van Derlip Fund, 1966","P.16,977","Publisher: S. W. Fores , at the Caracature Warehouse, No. 3 Picadilly; Etcher: R. Rusworth","Artist",,"fl. 1786 - 1838","","European Art","Public Domain","valid",5935,4085,0,"1",0,,,"[""""]","picasso",0.46342403,,,,,,,,,,
"107151","La communion des Lutheriens dans l'Eglise des Minorites à Augsbourg","Etching and engraving"," Prints","13 x 16 1/2 in. (33.02 x 41.91 cm) (plate)
16 x 19 5/8 in. (40.64 x 49.85 cm) (sheet)","Print","Europe","France",,"1732","Not on View","18th century","below image, printed inscription: Caterine Sperling del. La COMMUNION des LUTHERIENS dans L\'EGLISE des MINORITES à AUGSBOURG. B. Picart sculp. dir. 1732
bottom center, in pencil: 74","Signed, dated in the plate: B. Picard sculp. dir. 1732","","Catharina Heckel Sperling learned drawing from her father, Augsburg goldsmith Michael Heckel. A prodigy, she etched a booklet of fashion plates at age 11. She was self-taught as a painter of easel paintings and miniatures. In 1725, she married engraver Hieronymus Sperling, and together they spent the next few years making etched and engraved illustrations for a Bible published from 1731 to 1735, the same period in which the present church view appeared.
Working at the dawn of the Age of Enlightenment, she made images intended to convey vast quantities of information with the greatest clarity and objectivity possible. In The Communion of the Lutherans she carefully depicted the church, the clothing, and the ceremony. This is not to say that she insisted on archeological accuracy; comparison to modern photographs of the church reveals that she made the sanctuary appear loftier than it is in reality.","interior view of a church looking down on congregation with men standing at sides and women seated at center--some figures processing; very large sculpted altarpiece at front with angels; painting above altar appears to be Last Supper scene","(Thomas French Fine Art, Fairlawn, Ohio); given to MIA, 2009.","From Cérémonies et coutumes religieuses de tous les peuples du monde (Ceremonies and Religious Costumes of all the Peoples of the World), 10 vols., Paris, 1723-43","Gift of Thomas and Marsha French in honor of Rev. Richard Hillstrom","2009.28","Artist: after Caterine Sperling Heckel; Engraver: Bernard Picart","Artist","German","German, 1699 –1741","","European Art","Public Domain","valid",4463,3641,0,"1",1,,,"[""""]","picasso",0.38783514,,,,,,,,,,
"75544","Title Page from Metamorphosis Insectorum Surinamensium","Engraving and letterpress"," Prints; Books","15 1/2 x 11 1/4 in. (39.37 x 28.58 cm) (sheet)","Print","Europe","Netherlands",,"1726","Not on View","18th century","","","","In Full Bloom: Masterworks of Flower Illustration
Botanical illustrators working in the fifteenth and sixteenth centuries devoted themselves to the medicinal qualities of plants and sought to render plant structure and function as precisely as they could. Later, European explorers brought specimens back from exotic locales, and artists carefully reproduced them for an audience fascinated by new discoveries. By the eighteenth and nineteenth centuries, artists had shifted their emphasis from scientific illustration to the innate beauty of the plant or flower. The Minneapolis Institute of Arts is fortunate to possess an impressive collection of more than 2,000 botanical prints and drawings.
This exhibition highlights a selection of floral masterworks made by the leaders of botanical illustration, among them Pierre-Joseph Redouté, Jean Louis Prévost, Priscilla Susan Bury, and Jean-Baptiste Monnoyer. These works are assembled to honor the twenty-fifth anniversary of Art in Bloom, which will grace the museum from May 1 to 4, 2008. This annual event, organized by the Friends of the Institute, brings together floral designers from the region to create arrangements inspired by specific works of art on view at the MIA. Each year the Art in Bloom committee selects a signature image to promote the event, often choosing a work from the museum's permanent collection. Visitors who frequent Art in Bloom will recognize many of the images in this gallery from past Art in Blooms. The most recognizable name in this exhibition is the incomparable Pierre-Joseph Redouté (1759-1840). Often called the ""Raphael of Flowers,"" Redouté set a new standard in the field for his sumptuous renditions of single blooms and entire bouquets. Redouté's paintings, like those of other botanical artists, were translated into engravings and painstakingly finished by hand. These exquisite prints, most executed by French printmakers, came to the MIA's Department of Prints and Drawings from the collection of Dwight and Helen Minnich, who had a special f","","","From Metamorphosis Insectorum Surinamensium, 3rd Edition, The Hague, 1726","The Minnich Collection
The Ethel Morrison Van DerLip Fund, 1966","P.18,709","Artist: Maria Sibylla Merian; Artist: After Bernard Picart","Artist","German","German, 1647-1717","","European Art","Public Domain","valid",3539,5169,0,"1",0,"Nissen: 1342; Cat. Ger. Nat'l. Museum, 1967",,"[""""]","picasso",0.38783514,,,,,,true,,,,
"1503","The Spanish Playing Cards","Oil on canvas"," Paintings","25 x 27 3/8 in. (63.5 x 69.5 cm) (sight)
35 7/8 x 38 1/4 x 3 in. (91.12 x 97.16 x 7.62 cm) (outer frame)","Painting","Europe","Spain",,"1920","Not on View","20th century","Signature and Date","LL in black: [Miró/1920]","","Joan Miró's first encounter with the Cubist works of Picasso and Braque in 1919 inspired a group of still lifes - including Spanish Playing Cards - that he executed in 1920. Here, the stylized realism of Miró's previous work combined with the geometric faceting of synthetic Cubism. The densely painted objects retain their identity, but the surrounding space is fractured into patterned lines and angles. Miró continued working in this manner until 1924, when he joined the Surrealist movement.","Still life. Cubist.","",,"Gift of Mr. and Mrs. John Cowles","62.73.2","Artist: Joan Miró","Artist","Spanish","Spanish, 1893–1983","%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","European Art","In Copyright","valid",4263,3974,1,"1",0,,,"[""1503"",""18494"",""25089""]","picasso",0.38283435,"[{""title"":""Miro, Spanish Playing Cards"",""_id"":""1503"",""objectId"":""1503"",""link"":""http://audio-tours.s3.amazonaws.com/p939.mp3"",""number"":""939"",""type"":""audio""}]",,true,true,,,,,,
"43302","Ruines de l'Eglise de Berthancourt-les-Dames, Picardie","Lithotint on chine appliqué"," Prints","13 1/4 x 29 1/2 in. (33.66 x 74.93 cm) (plate)
13 1/4 x 19 1/2 in. (33.66 x 49.53 cm) (sheet)
","Print","Europe","England",,"c. 1840","Not on View","19th century","","","","","","Kemper E. Kirkpatrick, St. Paul; Estate of Kemper E. Kirkpatrick; given to MIA, 1992.","From Voyages pittoresques et romantiques dan l'ancienne France","Gift of the Estate of Kemper Kirkpatrick","P.92.8.58","Maker: James Duffield Harding","Artist","British","British, 1798 - 1863","","European Art","Public Domain","valid",5616,3658,0,"1",0,,,"[""""]","picasso",0.38164786,,,,,,,,,,
"61478","Project","Oil, graphite and paper collage on multiple boards, within the artist's constructed frame"," Paintings; Collages / Assemblages","10 3/8 x 12 9/16 in. (26.35 x 31.91 cm)
16 7/8 x 20 13/16 in. (42.86 x 52.86 cm) (outer frame)","Painting and collage","Europe","England",,"1943","Not on View","20th century","","on back in pencil: Ben Nicholson/1943","on back, two dealer\'s labels and dealer\'s tag","Subtle differences in color and layering make this work complex, though at first glance it may look simple. Creating a balanced composition with so few elements is challenging, but Nicholson succeeded. The collage’s muted tones were inspired by T. E. Lawrence’s account of his time in the Arabian desert during World War I, on which the film Lawrence of Arabia was based.
Born to painter parents, Nicholson followed in their footsteps, pursuing art from a young age. He had his first solo exhibition when he was twenty-eight. Among his friends and colleagues he counted Henry Moore, Pablo Picasso, Georges Braque, Piet Mondrian, and Constantin Brancusi.","white, off-white, grey and tan composition of overlapping squares, rectangles and two circles","",,"Gift of the Paintings Council in honor of Ingrid Lenz Harrison","2002.105","Artist: Ben Nicholson","Artist","British","British, 1894 - 1982","%C2%A9 Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",5568,4670,1,"1",0,,,"[""""]","picasso",0.33765635,"[{""title"":""Nicholson, Project"",""_id"":""61478"",""objectId"":""61478"",""link"":""http://audio-tours.s3.amazonaws.com/p763.mp3"",""number"":""763"",""type"":""audio""}]",,,,,,,,,
"123761","Print","Etching and engraving"," Prints","14 7/16 × 8 7/8 in. (36.67 × 22.54 cm) (image, sheet)
18 1/4 × 11 3/4 in. (46.36 × 29.85 cm) (mount)","Print","Europe","France",,"1726","Not on View","18th century","Signature, Date, and Inscription
in plate LLC in black: B. Picart invenit et sculpsit 1726 | below image in black: nine lines in French | below image in pencil: 2-199","See Inscription","","","Allegorical scene unveiled by Time with, in the middle, a winged figure symbolizing History, sitting with an open book on her knees, and looking at four allegorical figures representing the different part of the world; beside History are Genealogy, who is showing her a family tree, Chronology, who is holding a tablet, Geography, who is working on a map with a pair of compasses, and Memory, who is pointing at philosophers standing on the right; among them is Diogenes; in the foreground, personifications of arts and sciences, with attributes; in the background, religious figures: Adam and Eve, Muhammad surrounded by disciples, Aaron and Moses and, further in the distance, a group of clerics and martyrs; in the distance, monuments such as the colossus of Rodhes, the tower of Babel, Mount Golgotha, a pyramid, the temple of Solomon; Noah's ark sails on the sea; above are the Olympian gods; frontispiece to 'Dictionnaire historique hollandais'","","From ","Gift of John Crosby","P.47.617","Engraver: Bernard Picart","Artist","French","French, 1673 - 1733","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.30730093,,,,,,,,,,
"123763","Print","Etching and engraving"," Prints","2 5/16 × 5 5/16 in. (5.87 × 13.49 cm) (image)
5 1/16 × 7 7/8 in. (12.86 × 20 cm) (sheet)
9 1/4 × 11 13/16 in. (23.5 × 30 cm) (mount)","Print","Europe","France",,"1717","Not on View","18th century","Signature, Date, and Inscription
below image in black: B. Picart del. 1717 | on sheet in pencil: 2-199 / see theFrish(?) Collection","See Inscription","","","Pentecost; Mary seated at center surrounded by large group of people; bright area above from which tongues of fire are falling","","From ","Gift of John Crosby","P.47.619","Engraver: Bernard Picart","Artist","French","French, 1673 - 1733","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.30730093,,,,,,,,,,
"123766","Print","Etching and engraving"," Prints","3 5/16 × 4 3/8 in. (8.41 × 11.11 cm) (image, sheet)
11 11/16 × 9 1/4 in. (29.69 × 23.5 cm) (mount)","Print","Europe","France",,"1719","Not on View","18th century","Signature, Date, and Inscription
below image in black: B. Picart del. 1719 | in plate on banner: UBERTAS EX FOEDERE ET PACE | on sheet in pencil: 2-199","See Inscription","","","an ornament with two putti each holding a cornucopia; on banner above ""Ubertas ex foedere et pace""","","From ","Gift of John Crosby","P.47.620","Engraver: Bernard Picart","Artist","French","French, 1673 - 1733","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.30730093,,,,,,,,,,
"123762","The giants attempt to scale Heaven by piling mountains on one another","Etching and engraving"," Prints","13 3/4 × 9 5/8 in. (34.93 × 24.45 cm) (image, sheet)
18 5/16 × 11 3/4 in. (46.51 × 29.85 cm) (mount)","Print","Europe","France",,"18th century","Not on View","18th century","Signature, Title, and Inscription
below image in black: B. Picart dir. / Title in French, English, German and Dutch(?) below image in black | on sheet in pencil: 2-199","See Inscription","","","men carrying large rocks up mountain with a city below and gods and goddesses above; in an elaborate frame with the sun at the top and moon at bottom; harp, horn, quiver and arrows, pen on top half of sides; vines around lower half of sides and across bottom and top","","From ","Gift of John Crosby","P.47.618","Engraver: Bernard Picart","Artist","French","French, 1673 - 1733","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.30730093,,,,,,,,,,
"123898","Portrait of Jean Hus","Etching and Engraving"," Prints","8 × 5 5/8 in. (20.32 × 14.29 cm) (image, sheet)
11 13/16 × 9 11/16 in. (30 × 24.61 cm) (mount)","Print","Europe","Netherlands",,"1712","Not on View","18th century","Signature, Date, Title, and Inscription
in plate in black: IEAN HUS. / B. Picart del. 1712 | on sheet in pencil 2-199","See Inscription","","","above: bust length portrait in an oval of man turned left and seen in profile; below: crowd watching a man being burned at stake","","From ","Gift of John Crosby","P.47.622","Engraver: Bernard Picart","Artist","French","French, 1673 - 1733","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.30730093,,,,,,,,,,
"129767","Still Life Table","Metal tacks, cloth, metal plaque, oil and aluminum paint, wood, ink, crayon, rubber stamps, and graphite on wood panel"," Collages / Assemblages","15 5/8 × 19 3/4 × 2 5/8 in. (39.69 × 50.17 × 6.67 cm) (including Plexi cover)","Collage","North America","United States",,"1970","Not on View","20th century","","bottom center in pencil: ST 1970","","In this homage to the Cubist masters Pablo Picasso and Georges Braque, Saul Steinberg borrows their vocabulary to make his own Cubist still life. The curving form with a black circle alludes to the guitars often seen in early Cubist images. His brass nameplate is nailed to what appears to be a violin. The tack heads speckle a form akin to an absinthe glass, sculptures of which Picasso famously painted with polka dots. The half cylinder and the gouged-out area above it draw attention to the spatial ambiguities set up by the seemingly—but not really—overlapping planes throughout the image.","abstract image; geometric forms and arcs roughly in in form of a reversed small letter h; silver arcing wedge in LLC; top half of a portion of a wooden dowel with a white line placed horizontally at center right; wedge with rusty tack heads above and to right of silver wedge; yellow wedge at center; grey pigments concentrated in LRC and URC, with some crayon shading in LRC; round stamps at top left of center and on tan fabric above and to left of center; white fabric in shape of a sideways squared-off letter P at center; metal engraved name plate at bottom center: ""STEINBERG""; thick white border and thin yellow border; received with Plexi vitrine cover","The artist, New York; Saul Steinberg Foundation, New York; given to MIA, 2018.","From ","Gift of The Saul Steinberg Foundation","2018.122.6","Artist: Saul Steinberg","Artist","American","American, 1914–1999","%C2%A9 The Saul Steinberg Foundation %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",8338,6641,1,"1",0,,,"[""""]","picasso",0.30017483,,,,,,,,,,
"123760","Portrait of Stephen Picart, the Roman","Engraving"," Prints","6 13/16 × 5 in. (17.3 × 12.7 cm) (image, sheet)
11 7/8 × 9 1/2 in. (30.16 × 24.13 cm) (mount)","Print","Europe",,,"1690","Not on View","17th century","Signature, Title and Inscription
on sheet in black: Velu pinx Rome B.P. sculp 1690 / Stephanus Picart Romanus / Elatus sue 25 ani | on sheet in pencil: 2-192 | on verso in pencil: not in Catec / Vol 2 1902","See Inscription","","","portrait of the artist Stephen Picart, called The Roman, bust length facing right and looking over left shoulder; long curly hair; white lace collar and white full sleeves, tight at wrist; right hand at chest pointiing left; in an oval frame","","From ","Gift of John Crosby","P.47.616","Engraver: Bernard Picart; Painter: After Velut","Artist","French","French, 1673 - 1733","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.29544184,,,,,,,,,,
"1353","Seated Harlequin","Oil on canvas"," Paintings","36 x 29 1/2 in. (91.44 x 74.93 cm) (canvas)
35 5/8 x 28 1/4 in. (90.49 x 71.76 cm) (sight)
41 9/16 x 34 5/16 x 3 in. (105.57 x 87.15 x 7.62 cm) (outer frame)","Painting","Europe","Spain",,"c. 1920","G367","20th century","","LR: Juan Gris","","Harlequin is a character in the Commedia dell’arte, a form of Italian theater in which masked actors perform broad, humorous sketches. Most figures in commedia are based on social stereotypes of 1500s Italy. Harlequin is a mischievous servant dressed in a diamond-patterned costume who vies against the clown character Pierrot for the love of Colombina, a servant girl.
Gris and other modern artists—including Picasso—commonly used Harlequin and other Commedia dell’arte figures as subject matter. The layered meanings of Harlequin fit well with the Cubist configuration of the figure from different viewpoints, where no one fixed perspective is shown.
Conservation of this picture was made possible by a generous contribution from Al and Dena Naylor through the Art Champions program.","","",,"Gift of Mr. and Mrs. John Cowles","58.33","Artist: Juan Gris","Artist","Spanish","Spanish, 1887 - 1927","","European Art","No Copyright–United States","valid",6635,8340,0,"1",0,,,"[""""]","picasso",0.29247838,,,,,true,,,"[{""id"":""1353"",""adopted"":""1"",""_id"":""1353"",""description"":"""",""objectId"":""1353"",""type"":""adopt-a-painting"",""cost"":""""}]",,
"58297","Caida de un Picador de su Caballa Debajo de Toro, plate 26 from Tauromaquia","Etching, aquatint, and drypoint"," Prints","image, sheet: 8 x 12 1/8 in. (20.32 x 30.8 cm)","Print","Europe","Spain",,"1816 (1876 edition)","Not on View","19th Century","","","","","","(Frederick Keppel, New York); sold to MIA, 1919.","From Tauromaquia","Purchase, Fund Unknown, 1919","P.5,894","Artist: Francisco José de Goya y Lucientes","Artist","Spanish","Spanish, 1746–1828","","European Art","Public Domain","valid",8050,5525,0,"1",0,"H.229.III.3; D.249",,"[""""]","picasso",0.2754315,,,,,,,,,,
"75120","Pica Vagabunda","Hand-colored lithograph"," Prints","17 1/8 x 9 1/2 in. (43.5 x 24.13 cm) (image)",,"Europe","England",,"1831","Not on View","19th century","
","","
","","birds; pl. 41","","From From ""A Century of Birds from the Himalaya Mountains""","The Minnich Collection
The Ethel Morrison Van Derlip Fund, 1966","P.19,798","Artist: John Gould; Lithographer: Elizabeth Gould; Printer: Charles Joseph Hullmandel","Artist","British","British, 1804 - 1881","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"""Fine Bird Books,"" pp. 77, 78;
Nissen;
Weber, ""History of Lithography""",,"[""""]","picasso",0.2704862,,,,,,,,,,
"129158","Hameau de Picardie","Engraving"," Prints","5 3/16 × 7 in. (13.18 × 17.78 cm) (image)
9 13/16 × 12 in. (24.92 × 30.48 cm) (sheet)","Print","Europe","France",,"18th century","Not on View","18th century","Signature, Title, and Inscription
below image in black: Desiné psr Weirotter Gravé a l\'Eau-forte par C. Weisbrodt / et Termine par H. Guttenberg / Hameau de Picardie / a Paris chez Wille Graveur du Roi Quay des Augustins | on sheet in pencil: 2-594","See Inscription
","","","structure (barn?) at center left, with thatched roof and a bird roost on top; birds on branch outside roost and flying toward it; other structures right distance; group of four figures in front of structure, one seated on ground","","From ","Gift of John Crosby","P.47.979","Painter: After Franz Edmund Weirotter; Engraver: Carl Guillaume Weisbrod; Printer: Heinrich Guttenberg","Artist","Austrian","Austrian (active in France 1759-1763; 1765-1766), 1730 - 1771","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.2704862,,,,,,,,,,
"77704","Fashion Plate, No. 14, from Journal des Dames et des Modes","Hand-tinted engraving"," Prints","7 x 4 1/4 in. (17.78 x 10.8 cm) (plate)",,"Europe","France",,"1912","Not on View","20th century","","","","","","","From Journal des Dames et des Modes, (Paris, 1912-1914)","The Minnich Collection
The Ethel Morrison Van Derlip Fund, 1966","P.16,624","Publisher: Anatole France; Artist: A. Picaud","Artist","French","French, 1844 - 1924","","Prints and Drawings","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","picasso",0.26950648,,,,,,,,,,
"108627","Fashion Plate, No. 14, from Journal des Dames et des Modes","Hand-tinted engraving"," Prints","7 x 4 1/4 in. (17.78 x 10.8 cm) (plate)",,"Europe","France",,"1912","Not on View","20th century","","","","","","","From Journal des Dames et des Modes, (Paris, 1912-1914)","The Minnich Collection
The Ethel Morrison Van Derlip Fund, 1966","P.16,624a","Publisher: Anatole France; Artist: A. Picaud","Artist","French","French, 1844 - 1924","","European Art","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","picasso",0.26950648,,,,,,,,,,
"1277","Portrait of the Artist","Oil on canvas"," Paintings","45 1/16 x 34 3/8 in. (114.46 x 87.31 cm) (sight)
58 5/8 x 48 1/8 x 2 3/4 in. (148.91 x 122.24 x 6.99 cm) (outer frame)","Painting","Europe","France",,"c. 1912-1914","Not on View","20th century","Signature","LR in red: [derain]","","Derain's dissatisfaction with the aesthetics of contemporary art once provoked the artist to exclaim that he did not want to be ""of his time"" but, rather, ""of all time."" Thus, while his paintings are always modern, the influence of the Old Masters is equally apparent. The darkness and severity of the present work, while recalling links to the contemporary work of Picasso, also reflect Derain's interest in Spanish painting of the Renaissance.","","",,"Gift of Mr. and Mrs. John Cowles","55.41","Artist: André Derain","Artist","French","French, 1880 - 1954","%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","European Art","In Copyright","valid",3558,4570,1,"1",0,,,"[""111089"",""1277""]","picasso",0.24698988,,,,,,,,,,
"772","Saint-Séverin No. 2 (recto); Study for 'The City,' with the Eiffel Tower (verso)","Oil on canvas"," Paintings","39 1/8 x 29 1/8 in. (99.4 x 74 cm) (canvas)
47 1/2 x 37 5/8 x 3 1/4 in. (120.7 x 95.6 x 8.3 cm) (outer frame)","Painting","Europe","France",,"1909","G367","20th century","","Signed and dated on the verso at upper right in red pigment: 2e étude pour / Saint Séverin / 1909 / r delaunay / Paris
","","**Conservation of this picture and its frame were made possible by a generous contribution from Dena and Al Naylor through the Art Champions program.**
This canvas is the second in a series of seven executed by Delaunay depicting the 15th- century ambulatory of this Gothic church near his Paris studio. While the viewpoint in each is identical, the columns bend, bow, expand, or dissolve in successive stages of the series. Aspects of Cubism are present but nominal, as Delaunay’s reliance on the reaction of colors to convey the line sets it apart from the practices of Pablo Picasso and Georges Braque.
In 1911, Delaunay was invited by Vassily Kandinsky to participate in the first exhibition of the Blaue Reiter (Blue Rider) group in Munich, held from December 1910 – January 1912 at the Moderne Galerie Thannhauser. Delaunay sent five works, including Saint-Séverin #1, which established his reputation in Germany. In fact, by 1916, German critics referred to the French artist as “the first known Expressionist.”
The verso of the canvas was lined in the 1950s to stabilize the support, but recent conservation allowed for the lining’s safe removal. This revealed a rooftop view of Paris. It is an early study for a painting of this subject.","Cathedral interior. Orphism.","",,"The William Hood Dunwoody Fund","47.7","Artist: Robert Delaunay","Artist","French","French, 1885 - 1941","","European Art","No Copyright–United States","valid",6492,8711,0,"1",1,"Habasque, no. 44",,"[""""]","picasso",0.24521545,,true,,,,,,"[{""id"":""772"",""adopted"":""1"",""_id"":""772"",""description"":"""",""objectId"":""772"",""type"":""adopt-a-painting"",""cost"":""""}]",,
"108014","Ambroise Vollard","Transfer lithograph"," Prints","14 3/8 x 10 5/8 in. (36.51 x 26.99 cm) (sheet)","Print","Europe","France",,"1904 (printed 1919)","Not on View","20th century","Signature","LRC, in the print: [Renoir]","","This portrait of Ambroise Vollard is by the great French Impressionist Pierre-August Renoir. The transfer lithograph was drawn in 1904 and printed in 1919. Active as a dealer, publisher, and collector, Vollard was at the very center of the art world. He dealt in the works of Renoir as well as artists ranging from Paul Cézanne and Vincent van Gogh to Georges Rouault and Pablo Picasso. Vollard wrote biographies of several artists including Renoir. When Renoir died in 1919, Vollard published a portfolio of twelve of his lithographs, including the portrait, in an edition of 1000 impressions.","portrait of a man in profile, PL; black hair, beard and moustache, with receding hairline","Bruce Dayton (Wayzata, MN)","From ","Gift of Ruth and Bruce Dayton","2009.71.7","Artist: Pierre Auguste Renoir","Artist","French","French, 1841-1919","","European Art","No Copyright–United States","valid",3565,4928,0,"1",1,"Delteil 37",,"[""""]","picasso",0.24015151,,,,,,,,,,
"123897","Portrait of King Louis XIV","Etching and engraving"," Prints","10 5/16 × 7 3/16 in. (26.19 × 18.26 cm) (image, sheet)
11 13/16 × 9 5/8 in. (30 × 24.45 cm) (mount)","Print","Europe","Netherlands",,"1728","Not on View","18th century","Signature, Date, Title, and Inscription
in plate upper right in black: Tom: II. Pag: 424. | on plinth in black: B. Picart sculp. dir. / LODEWYK DE VEERTIENDE / KONINK VAN VRANKRYK &c. | on sheet in pencil: 2-199","See Inscription","","","Portrait of Louis XIV; bust length turned left and looking front; wearing armor with a sash; in an oval on a plinth","","From ","Gift of John Crosby","P.47.621","Engraver: Bernard Picart; Artist: Jean de la Haye","Artist","French","French, 1673 - 1733","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.23171201,,,,,,,,,,
"128765","Une cloche battait dans la tour [A bell was striking in the tower], illustration to Edmond Picard, Le Juré","Lithograph"," Prints","8 1/16 × 6 1/8 in. (20.48 × 15.56 cm) (image)
12 5/8 × 9 11/16 in. (32.07 × 24.61 cm) (sheet)","Print","Europe","France",,"1887","Not on View","19th century","LLC in pencil: Cat 77 / 3 | LRC in pencil: OXX / D / (illegible) / 19 | on back in pencil: Odilon Redon - Lith org. (M77) / 3112","LRC in the image: ODILON REDON | LLC below image in pencil: OR | bottom center in pencil: Une cloche battait dans la tour","","Le Juré [The Juror] is monologue in five acts by Edmond Picard, a lawyer and art lover. The story involves a juror who has voted to convict a man of murder, but who grows to doubt the man’s guilt and descends into madness. Picard asked the symbolist artist Odilon Redon to make moody drawings to accompany the first production. The project was so successful that they went on to publish the play with illustrations by Redon. Redon’s drawings are not literal illustrations of the text; rather, they are freer interpretations. Here in the frontispiece to the second act, we see the clock tour of Saint Gudule Cathedral in Brussels as its deep-bass bell strikes the hour.","dark clocktower with three shadowy sculptural figures standing beneath clock face","John E. Andrus III (Wayzata, Minn.); Julie Andrus (Minneapolis, Minn.)","From From Edmond Picard, Le Juré (Brussels: Madame Veuve Monnom, 1887)","Anonymous gift","2018.96.21","Artist: Odilon Redon; Printer: Becquet, Paris","Artist","French","French, 1840–1916","","European Art","No Copyright–United States","valid",5000,6459,0,"1",0,,,"[""""]","picasso",0.22232333,,,,,,,,,,
"28249","Abstraction","Graphite on paper"," Drawings","17 1/2 x 11in. (44.4 x 27.9cm)","Drawing","North America","United States",,"c. 1914","Not on View","20th century","Signature
see Signed","Signed in pencil, LR: [A. WALKOWITZ]","","While living in New York City in the mid-1910s, Abraham Walkowitz began a series of experimental abstractions he called New York Improvisations. Many of these drawings presented aspects of the city in an angular style inspired by the Cubist works of Picasso and Braque. Others, like this drawing, featured organic patterns of billowing, curvilinear forms. “Art has its own life,” he once stated. “One receives impressions from contacts or objects and then new forms are born in equivalents of line or color improvisations . . . the artist creates a new form of life.” This drawing represents an emotional response to the rhythm and energy of the urban experience itself.","","The artist, c. 1914-65; Estate of the artist, 1965; [Zabriskie Gallerie, New York, until 1969 (sold to Hillstrom)]; Rev. Richard Lewis Hillstrom, St. Paul, 1969-93; given to MIA.",,"Gift of Rev. Richard Lewis Hillstrom","93.82.5","Artist: Abraham Walkowitz","Artist","American (born Russia)","American (born Russia), 1880–1965","Copyright of the artist%2C artist%27s estate%2C or assignees","Arts of the Americas","In Copyright–Rights-holder(s) Unlocatable","valid",2919,4541,0,"1",1,,,"[""""]","picasso",0.2178428,,,,,,,,,,
"75227","Herodias Picata: Gould. Plate 62. Vol. VI","Hand-colored lithograph"," Prints","13 1/2 x 18 1/2 in. (34.29 x 46.99 cm) (image)",,"Europe","England",,"1837-1838","Not on View","19th century","
","","
","","birds","","From From ""Birds of Australia""","The Minnich Collection
The Ethel Morrison Van Derlip Fund, 1966","P.19,835","Artist: John Gould; Lithographer: Henry Constantine Richter; Printer: Charles Joseph Hullmandel, London & Walton","Artist","British","British, 1804 - 1881","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"Nissen: 370;
Zimmer, I: 255, 259;
Anker, 174, 179;
""Fine Bird Books:"" 77",,"[""""]","picasso",0.21737802,,,,,,,,,,
"74198","Picae glandariae genus","Engraving"," Prints","5 x 7 1/2 in. (12.7 x 19.05 cm) (plate)","Print","Europe",,,"1610","Not on View","17th century","","","","","black and white","","From From ""Avium Vivae Icones""","The Minnich Collection
The Ethel Morrison Van Derlip Fund, 1966","P.14,128","Artist: Adriaen Collaert","Artist","Flemish","Flemish, about 1560-1618","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","picasso",0.21737802,,,,,,,,,,
"75123","Pica Erythrorhyncha, 2/3 Natural Size","Hand-colored lithograph"," Prints","18 1/4 x 10 in. (46.36 x 25.4 cm) (image)",,"Europe","England",,"1831","Not on View","19th century","
","","
","","birds; pl. 42","","From From ""A Century of Birds from the Himalaya Mountains""","The Minnich Collection
The Ethel Morrison Van Derlip Fund, 1966","P.19,797","Artist: John Gould; Lithographer: Elizabeth Gould; Printer: Charles Joseph Hullmandel","Artist","British","British, 1804 - 1881","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"""Fine Bird Books,"" pp. 77, 78;
Nissen;
Weber, ""History of Lithography""",,"[""""]","picasso",0.21737802,,,,,,,,,,
"43285","L'Eglise de Montreuil, Picardie","Lithograph and linotint on chine collé"," Prints","14 5/16 x 9 7/8 in. (36.35 x 25.08 cm) (plate)
20 7/8 x 9 7/8 in. (53.02 x 25.08 cm) (sheet)","Print","Europe","England",,"1845","Not on View","19th century","","","","","","Kemper E. Kirkpatrick, St. Paul; Estate of Kemper E. Kirkpatrick; given to MIA, 1992.","From Voyages pittoresques et romantiques dans l'ancienne France, (1820-1878)","Gift of the Estate of Kemper Kirkpatrick","P.92.8.9","Artist: Thomas Shotter Boys","Artist","British","British, 1803 - 1873","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"Groschwitz 13w",,"[""""]","picasso",0.21737802,,,,,,,,,,
"3215","Ahab","Painted metal"," Sculpture","27 lb. (12.2 cm)
150 7/8 × 184 7/16 in. (383.2 × 468.5 cm)","Mobile","North America","United States",,"1953","Not on View","20th century","","","","From childhood Alexander Calder enjoyed inventing mechanical toys and gadgets. In Paris during the 1920s and 1930s he encountered a new type of sculpture, pioneered by Picasso and the Russian Constructivists: assemblages of wood, metal, plastic, and cardboard, with space incorporated as part of the design. Calder began building similar abstract pieces in 1930 but gave them a new dimension--motion. Fellow artist Marcel Duchamp christened the moving sculptures ""mobiles.""
One of Calder's largest mobiles, Ahab is composed of three arcs made of steel rods and irregularly shaped disks that suggest natural forms. The title refers to the maniacal sea captain who pursued the white whale in Herman Melville's novel Moby Dick (1851).","hanging painted metal mobile; comprised of a series of bent steel rods (5 distinct gauges ranging from 1/8"" to 5/8"") with aluminum-alloy (est) sheet metal paddles and one steel paddle of varying sizes; the components are assigned letters from a-f in order of installation; ""a"" has one paddle and two rods; ceiling anchor point is at the middle of the primary rod; paddle is incised ""UPPER"" on the top side; ""b"" is a single rod; ""c"" has eight paddles and seven rods; ""d"" has seven paddles and six rods; ""e"" has three paddles and three rods, staggered; the paddles are incised ""5,"" ""6,"" and ""7; also ""Ahab"", artist's initials, and year are incised onto paddle ""6;"" ""f"" has four paddles and three rods, and a hanging u-shaped element; paddles are incised ""1,"" ""2,"" ""3,"" and ""4;"" the lowest hanging paddle is steel and the number is punched into the surface with awl or similar tool; the components are connected to one another with a series of rings, S-hooks, and rivets, allowing movement when the mobile is suspended; all parts of the mobile are painted with black matte paint","",,"Gift of Bruce B. Dayton and Mr. and Mrs. Gerald A. Erickson, by exchange","83.77a-f","Artist: Alexander Calder","Artist","American","American, 1898–1976","%C2%A9 2015 Calder Foundation%2C New York %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",5616,3744,1,"1",0,,,"[""""]","picasso",0.21515256,,,,,,,,,,
"55035","Sur la plage","Etching"," Prints","19 3/16 x 35 in. (48.74 x 88.9 cm) (plate)
19 5/8 x 35 5/16 in. (49.85 x 89.69 cm) (sheet)","Print","Europe","France",,"1931","Not on View","20th century","Inscribed by artist: H.C. 1/2 à mes chers amis Greta et Tristan affectioneusement Marcoussis","in pencil: Marcoussis","watermark: BFK Rives","A few years after moving to Paris in 1903, a young Ludwig Markus met Cubist painters Georges Braque and Pablo Picasso and poet Guillaume Apollinaire. They influenced Markus's style and also his name; it was Apollinaire who suggested he change it to Marcoussis, after a village just south of Paris. After 1930 Marcoussis largely devoted himself to printmaking. More than other Cubists, he evoked a sense of nature and personal feeling in his works, as demonstrated by the intertwined hands below the couple here. The year he made this print, Marcoussis also illustrated a book by Dadaist poet Tristan Tzara. In pencil, the artist inscribed this print to Tzara and his wife, painter Greta Knutson.","","(Goldschmidt Galleries, New York); sold to MIA, 1971.",,"The Ethel Morrison Van Derlip Fund","P.71.163","Artist: Louis Marcoussis","Artist","French (born Poland)","French (born Poland), 1883 - 1941","","European Art","No Copyright–United States","valid",5464,2945,0,"1",0,"Lafranchis G 80",,"[""""]","picasso",0.21100444,,,,,,,,,,
"115680","For an Eye an Eye, II","Etching, soft-ground, gouged-out white areas, stippling, scraping and burnishing"," Prints","37 x 30 1/4 in. (93.98 x 76.84 cm) (outer frame)
27 x 21 1/4 in. (68.58 x 53.98 cm) (image)","Print","North America","United States",,"1946-1948","Not on View","20th century","","","","In forty years of teaching at the University of Iowa, Mauricio Lasansky played a major role in rejuvenating American interest in printmaking as a creative process. Shortly before Lasanksky's arrival in Iowa, he had his first encounter with Picasso's gigantic, ferocious painting Guernica. The experience gave him new impetus to express intense feeling in his art and to do with great immediacy. The series ""For an Eye an Eye,"" an homage to Picasso, is one of the primary fruits of that change.
""For an Eye an Eye,"" a series of four prints, is Lasanky's first artistic reaction to the Holocaust. Though one cannot readily discern any simple, straightforward narrative in this nightmarish sequence, one has the sense of the inevitability and dehumanizing infectiousness of violence. One seemingly virtuous female figure, whose head is adorned with flowers, seems drawn into the monstrous thrall of violence.
Lasansky apparently made just one preparatory drawing for the series and then let his concept evolve as he worked directly on the plates. In a virtuoso display, he attacked the copper with etching, engraving, aquatint, burnishers and scrapers. Clearly, he changed his mind with some frequency, leaving knots of pentimenti that increase the energy and mystery of the images. The Holocaust would remain a recurrent theme in Lasanky's work, most famously in ""The Nazi Drawings,"" a series of 33 monumental works produced in the 1960s.","black and white; figure at R stands with arms raised; figure on L with mask-like face stands in profile, L leg forward in stride: wood frame","The artist (until c. 1975; gave to his son Leonardo Lasansky, St. Paul); share given to Leonardo's son Amadeo Lasansky, New York, about 2010; given to MIA, 2012","From ","Given in memory of Mauricio and Emilia Barragan Lasansky, from their son Leonardo and grandson Amadeo Galgo Lasansky","2012.100.2","Artist: Mauricio Lasansky","Artist","American (born Argentina)","American (born Argentina), 1914-2012","%C2%A9 Estate Mauricio Lasansky","Arts of the Americas","In Copyright","valid",7406,9348,1,"1",1,"Zigrosser 69-72",,"[""""]","picasso",0.20306122,,,,,,,,,,
"115679","For an Eye an Eye, I","Etching, soft-ground, aquatint, open-bite, scraping and burnishing"," Prints","37 x 30 1/4 in. (93.98 x 76.84 cm) (outer frame)
27 x 21 1/4 in. (68.58 x 53.98 cm) (image)","Print","North America","United States",,"1946-1948","Not on View","20th century","","","","In forty years of teaching at the University of Iowa, Mauricio Lasansky played a major role in rejuvenating American interest in printmaking as a creative process. Shortly before Lasanksky's arrival in Iowa, he had his first encounter with Picasso's gigantic, ferocious painting Guernica. The experience gave him new impetus to express intense feeling in his art and to do with great immediacy. The series ""For an Eye an Eye,"" an homage to Picasso, is one of the primary fruits of that change.
""For an Eye an Eye,"" a series of four prints, is Lasanky's first artistic reaction to the Holocaust. Though one cannot readily discern any simple, straightforward narrative in this nightmarish sequence, one has the sense of the inevitability and dehumanizing infectiousness of violence. One seemingly virtuous female figure, whose head is adorned with flowers, seems drawn into the monstrous thrall of violence.
Lasansky apparently made just one preparatory drawing for the series and then let his concept evolve as he worked directly on the plates. In a virtuoso display, he attacked the copper with etching, engraving, aquatint, burnishers and scrapers. Clearly, he changed his mind with some frequency, leaving knots of pentimenti that increase the energy and mystery of the images. The Holocaust would remain a recurrent theme in Lasanky's work, most famously in ""The Nazi Drawings,"" a series of 33 monumental works produced in the 1960s.","black and white; two figures with animated gestures; abstract setting; wood frame","The artist (until c. 1975; gave to his son Leonardo Lasansky, St. Paul); share given to Leonardo's son Amadeo Lasansky, New York, about 2010; given to MIA, 2012","From ","Given in memory of Mauricio and Emilia Barragan Lasansky, from their son Leonardo and grandson Amadeo Galgo Lasansky","2012.100.1","Artist: Mauricio Lasansky","Artist","American (born Argentina)","American (born Argentina), 1914-2012","%C2%A9 Estate Mauricio Lasansky","Arts of the Americas","In Copyright","valid",7207,9118,1,"1",1,"Zigrosser 69-72",,"[""""]","picasso",0.20306122,,,,,,,,,,
"115682","For an Eye an Eye, IV","Etching, engraving, stop-out, aquatint, open-bite, stippling, scraping and burnishing"," Prints","37 x 30 1/4 in. (93.98 x 76.84 cm) (outer frame)
27 x 21 1/4 in. (68.58 x 53.98 cm) (image)","Print","North America","United States",,"1946-1948","Not on View","20th century","","","","In forty years of teaching at the University of Iowa, Mauricio Lasansky played a major role in rejuvenating American interest in printmaking as a creative process. Shortly before Lasanksky's arrival in Iowa, he had his first encounter with Picasso's gigantic, ferocious painting Guernica. The experience gave him new impetus to express intense feeling in his art and to do with great immediacy. The series ""For an Eye an Eye,"" an homage to Picasso, is one of the primary fruits of that change.
""For an Eye an Eye,"" a series of four prints, is Lasanky's first artistic reaction to the Holocaust. Though one cannot readily discern any simple, straightforward narrative in this nightmarish sequence, one has the sense of the inevitability and dehumanizing infectiousness of violence. One seemingly virtuous female figure, whose head is adorned with flowers, seems drawn into the monstrous thrall of violence.
Lasansky apparently made just one preparatory drawing for the series and then let his concept evolve as he worked directly on the plates. In a virtuoso display, he attacked the copper with etching, engraving, aquatint, burnishers and scrapers. Clearly, he changed his mind with some frequency, leaving knots of pentimenti that increase the energy and mystery of the images. The Holocaust would remain a recurrent theme in Lasanky's work, most famously in ""The Nazi Drawings,"" a series of 33 monumental works produced in the 1960s.","black and white; four highlighted figures, with various mask-like faces and postures in darkened space; wood frame","The artist (until c. 1975; gave to his son Leonardo Lasansky, St. Paul); share given to Leonardo's son Amadeo Lasansky, New York, about 2010; given to MIA, 2012","From ","Given in memory of Mauricio and Emilia Barragan Lasansky, from their son Leonardo and grandson Amadeo Galgo Lasansky","2012.100.4","Artist: Mauricio Lasansky","Artist","American (born Argentina)","American (born Argentina), 1914-2012","%C2%A9 Estate Mauricio Lasansky","Arts of the Americas","In Copyright","valid",7150,8987,1,"1",1,"Zigrosser 69-72",,"[""""]","picasso",0.20306122,,,,,,,,,,
"115681","For an Eye an Eye, III","Etching, soft-ground, open bite, lift ground, stippling, scraping and burnishing"," Prints","37 x 30 1/4 in. (93.98 x 76.84 cm) (outer frame)
27 x 21 1/4 in. (68.58 x 53.98 cm) (image)","Print","North America","United States",,"1946-1948","Not on View","20th century","","","","In forty years of teaching at the University of Iowa, Mauricio Lasansky played a major role in rejuvenating American interest in printmaking as a creative process. Shortly before Lasanksky's arrival in Iowa, he had his first encounter with Picasso's gigantic, ferocious painting Guernica. The experience gave him new impetus to express intense feeling in his art and to do with great immediacy. The series ""For an Eye an Eye,"" an homage to Picasso, is one of the primary fruits of that change.
""For an Eye an Eye,"" a series of four prints, is Lasanky's first artistic reaction to the Holocaust. Though one cannot readily discern any simple, straightforward narrative in this nightmarish sequence, one has the sense of the inevitability and dehumanizing infectiousness of violence. One seemingly virtuous female figure, whose head is adorned with flowers, seems drawn into the monstrous thrall of violence.
Lasansky apparently made just one preparatory drawing for the series and then let his concept evolve as he worked directly on the plates. In a virtuoso display, he attacked the copper with etching, engraving, aquatint, burnishers and scrapers. Clearly, he changed his mind with some frequency, leaving knots of pentimenti that increase the energy and mystery of the images. The Holocaust would remain a recurrent theme in Lasanky's work, most famously in ""The Nazi Drawings,"" a series of 33 monumental works produced in the 1960s.","black and white; man and woman face one another on R; man with crown- like headdress on L; wood frame","The artist (until c. 1975; gave to his son Leonardo Lasansky, St. Paul); share given to Leonardo's son Amadeo Lasansky, New York, about 2010; given to MIA, 2012","From ","Given in memory of Mauricio and Emilia Barragan Lasansky, from their son Leonardo and grandson Amadeo Galgo Lasansky","2012.100.3","Artist: Mauricio Lasansky","Artist","American (born Argentina)","American (born Argentina), 1914-2012","%C2%A9 Estate Mauricio Lasansky","Arts of the Americas","In Copyright","valid",7253,9294,1,"1",1,"Zigrosser 69-72",,"[""""]","picasso",0.20306122,,,,,,,,,,
"66922","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome cinquieme","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1808 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.5","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66929","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome douzième","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1810 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.12","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66924","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome septieme","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1808 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.7","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66927","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome dixième","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1809 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.10","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66928","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome onzième","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1810 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.11","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66923","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome sixieme","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1808 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.6","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66925","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome huitieme","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1808 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.8","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66919","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome second","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1807 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.2","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66926","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome neuvième","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1808 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.9","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66921","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome quatrième","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1808 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.4","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66920","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome troisième","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, clsoed)","Illustrated book","Europe","France",,"1808 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.3","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"66918","Cérémonies et coutumes religieuses de tous les peuples du monde, Nouvelle édition, Tome premier","Engravings, letterpress; bound volume"," Prints; Books","16 x 10 1/8 in. (book, closed)","Illustrated book","Europe","France",,"1807 (1807-10)","Not on View","19th century","","","","","One of 12 volumes from the nouvelle édition (1807-10); original binding","Ted Abramson, St. Paul; given to MIA, 1963.","From ","Gift of Ted Abramson","63.11.1.1","Author: Jean Frédéric Bernard; Engraver: Bernard Picart; Publisher: L. Prudhomme, Paris","Artist","French","French, 1673 - 1733","","European Art","Public Domain","invalid","","",0,"1",1,,,"[""""]","picasso",0.19391757,,,,,,,,,,
"127530","Mary","Conté crayon on paper"," Drawings; Works on Paper","21 3/16 × 17 11/16 in. (53.82 × 44.93 cm) (sheet)","Drawing","North America","United States",,"1945","Not on View","20th century","on back in pencil: dro696","LLC in pencil: Mary (underlined) 12 Aug 1945 | LRC in pencil: F. Hammersley / 12 Aug 45","","Hammersley trained in traditional painting and drawing, first at Idaho State University beginning in 1936, and later at the Chouinard Art Institute and Jepson Art Institute in Los Angeles. He also served as a U.S. Army Signal Corps graphic designer during World War II. Stationed in Paris when the war ended in 1945, he remained in the city to study at the École des Beaux-Arts. During this time, he visited the studios of several prominent modern artists, including Picasso, Braque, and Brancusi. The experience strongly influenced his desire to pursue modern and experimental art.
Hammersley’s wide-ranging practice includes sculpture, painting, drawing, collage, printmaking, computer-generated art, mosaic design, and photography. In addition to his long-standing interest in hard-edge geometric abstraction, Hammersley painted and drew from the figure and composed representational subjects throughout his career.","head of a woman with bobbed hair; heavy black vertical rubs on nose; small mouth with teeth visible; tired eyes","The artist; New Mexico; Frederick Hammersley Foundation, Albuquerque, N.M.; given to MIA, 2017.","From ","Gift of the Frederick Hammersley Foundation","2017.151.7","Artist: Frederick Hammersley","Artist","American","American, 1919–2009","%C2%A9 Frederick Hammersley Foundation %2F Artists Rights Society %28ARS%29%2C New York %2F licensed by Minneapolis Institute of Art","Arts of the Americas","In Copyright–Educational Use","valid",7699,8991,0,"1",1,,,"[""""]","picasso",0.1873506,,,,,,,,,,
"127529","Old guy","Graphite pencil on paper"," Drawings; Works on Paper","9 15/16 × 8 in. (25.24 × 20.32 cm) (sheet)","Drawing","North America","United States",,"1974","Not on View","20th century","LRC in pencil: 11 74 | on back in pencil: dr0065","LLC in pencil: \""old guy\"" | LRC in pencil: F. Hammersley 74","","Hammersley trained in traditional painting and drawing, first at Idaho State University beginning in 1936, and later at the Chouinard Art Institute and Jepson Art Institute in Los Angeles. He also served as a U.S. Army Signal Corps graphic designer during World War II. Stationed in Paris when the war ended in 1945, he remained in the city to study at the École des Beaux-Arts. During this time, he visited the studios of several prominent modern artists, including Picasso, Braque, and Brancusi. The experience strongly influenced his desire to pursue modern and experimental art.
Hammersley’s wide-ranging practice includes sculpture, painting, drawing, collage, printmaking, computer-generated art, mosaic design, and photography. In addition to his long-standing interest in hard-edge geometric abstraction, Hammersley painted and drew from the figure and composed representational subjects throughout his career.","many jagged lines of various thickness forming a sketchy portrait of a balding man with a moustache","The artist; New Mexico; Frederick Hammersley Foundation, Albuquerque, N.M.; given to MIA, 2017.","From ","Gift of the Frederick Hammersley Foundation","2017.151.6","Artist: Frederick Hammersley","Artist","American","American, 1919–2009","%C2%A9 Frederick Hammersley Foundation %2F Artists Rights Society %28ARS%29%2C New York %2F licensed by Minneapolis Institute of Art","Arts of the Americas","In Copyright–Educational Use","valid",3498,4280,0,"1",1,,,"[""""]","picasso",0.1873506,,,,,,,,,,
"127528","Four of a kind","Ink on paper in artist-made frame"," Drawings; Works on Paper","9 3/4 × 7 3/4 in. (24.77 × 19.69 cm) (sight)
15 5/8 × 13 1/8 × 13/16 in. (39.69 × 33.34 × 2.06 cm) (outer frame)","Drawing","North America","United States",,"1975","Not on View","20th century","","bottom center in pencil: F. Hammersley 1975","","Hammersley trained in traditional painting and drawing, first at Idaho State University beginning in 1936, and later at the Chouinard Art Institute and Jepson Art Institute in Los Angeles. He also served as a U.S. Army Signal Corps graphic designer during World War II. Stationed in Paris when the war ended in 1945, he remained in the city to study at the École des Beaux-Arts. During this time, he visited the studios of several prominent modern artists, including Picasso, Braque, and Brancusi. The experience strongly influenced his desire to pursue modern and experimental art.
Hammersley’s wide-ranging practice includes sculpture, painting, drawing, collage, printmaking, computer-generated art, mosaic design, and photography. In addition to his long-standing interest in hard-edge geometric abstraction, Hammersley painted and drew from the figure and composed representational subjects throughout his career.","head of a man with full cheeks, long nose, beard and moustache, wearing a rounded cap; grey mat; whitewashed frame","The artist; New Mexico; Frederick Hammersley Foundation, Albuquerque, N.M.; given to MIA, 2017.","From ","Gift of the Frederick Hammersley Foundation","2017.151.5","Artist: Frederick Hammersley","Artist","American","American, 1919–2009","%C2%A9 Frederick Hammersley Foundation %2F Artists Rights Society %28ARS%29%2C New York %2F licensed by Minneapolis Institute of Art","Arts of the Americas","In Copyright–Educational Use","valid",3371,4133,0,"1",1,,,"[""""]","picasso",0.1873506,,,,,,,,,,
"43666","The Butterfly (La Mariposa)","Engraving, aquatint, soft-ground etching"," Prints","5 x 8 in. (12.7 x 20.32 cm) (plate)
7 7/8 x 10 3/4 in. (20 x 27.31 cm) (sheet)","Print","North America","United States",,"1944","Not on View","20th century","","","","On October 20, 1943, Lasansky arrived in New York to begin his first Guggenheim Fellowship—a prestigious grant awarded to scholars and artists—one week after his 29th birthday. He made his way to Atelier 17, the celebrated print studio founded by British artist Stanley William Hayter. Lasansky admired Hayter’s bold, imaginative approach to printmaking. Hayter favored intaglio—techniques such as engraving, etching, or aquatint, in which lines are cut into a metal plate and then inked and printed when the plate is run through a press (from the Italian word intagliare, meaning to cut or engrave). He also fostered an environment of experimentation. At Atelier 17, Lasansky worked alongside Marc Chagall, Joan Miró, Jackson Pollock, and Sue Fuller, among other artists. Despite his proximity to this star power, Lasansky’s biggest influence at this time was Pablo Picasso, along with Hayter’s own lyrical Abstract Expressionism. Close inspection of this print reveals elaborately worked surfaces and a mastery of challenging techniques.","","Harold E. Rayburn; given to MIA, 1995.",,"Gift of Harold E. Rayburn","P.95.22.1","Artist: Mauricio Lasansky; Printer: Atelier 17 , New York","Artist","American (born Argentina)","American (born Argentina), 1914-2012","%C2%A9 Estate Mauricio Lasansky","Arts of the Americas","In Copyright","valid",3943,2897,1,"1",0,"Zigrosser 66; Lasansky & Thein 62",,"[""""]","picasso",0.16674247,,,,,,,,,,
"55490","Hombre en negro","Color lithograph"," Prints","25 3/4 x 19 3/4 in. (65.41 x 50.17 cm) (image)
30 1/8 x 22 3/8 in. (76.52 x 56.83 cm) (sheet)","Print","North America","Mexico",,"1960","Not on View","20th century","
","Signed in pencil, LR: R. Tamayo","Watermark:
Numbered in pencil, LL: 51/75","Rufino Tamayo's renowned skill as a colorist has roots in his childhood. He was orphaned at age 12 and went to live in Mexico City with an aunt who sold tropical fruit in the market. Tamayo helped in her colorful shop. Later, uncomfortable with the nationalistic fervor surrounding the mural program, he would often leave Mexico to live in New York and Paris. Seeing Picasso's work influenced him greatly. When Tamayo did paint murals, they tended toward symbolism-in the spirit of the figure here-rather than the picturesque imagery of his contemporaries.","","Marvin Small, New York; given to MIA, 1961.",,"Gift of Mr. Marvin Small, 1961","P.12,852","Artist: Rufino Tamayo","Artist","Mexican","Mexican, 1899 - 1991","Art %C2%A9 Tamayo Heirs %2F Mexico %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","Arts of the Americas","In Copyright","valid",3592,4762,1,"1",1,"Pereda 75",,"[""""]","picasso",0.16605158,,,,,,,,,true,
"74935","Pazzera bianca. Pica caudata alba. Plate CLVI.","Engraving, hand-colored"," Prints","13 1/2 x 10 5/8 in. (34.29 x 26.99 cm) (sheet)",,"Europe","Italy",,"1767-1776","Not on View","18th century","
","No signatures","
","","Birds","","From Ornithologia Methodice Digesta, Florence, 1767-1776","The Minnich Collection
The Ethel Morrison Van Derlip Fund, 1966","P.19,187","Artist: Saverio Manetti","Artist","Italian","Italian, 1723 - 1784","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"Nissen: 588; Zimmer: 241; ""Fine Bird Books,"" p.10, p.92",,"[""""]","picasso",0.16426983,,,,,,,,,,
"40603","Vase/bowl","Ceramic with craqueler surface"," Ceramics","13 x 7 1/4 in. (33.02 x 18.42 cm)","Vase/bowl","Europe","Sweden",,"c. 1940","Not on View","Art Deco","","","","Wilhelm Kåge began his career as a painter, receiving his initial training at the Valand Art School in Gothenburg and later studying under Johan Rohde in Copenhagen. As Gustavsberg's earliest modern designer (and artistic director from 1917-49) he produced a number of witty and elegant designs arising from his familiarity with the modern movements in painting and sculpture. In this work he has made a sly reference to Cubism, slicing the vase form in half and combining a vase and bowl into one unit as it might appear in a Picasso still life.
The Surrea series included a wide range of cut and reassembled vases and bowls, some partly colored, some left undecorated. Kåge's lively imagination brought forth an astonishing variety of forms. The angularity of several geometric vessels in the Surrea series contrasts strikingly with the ""soft forms"" of organically shaped tableware produced during the same period. A porcelain vase with silver inlany from another one of his lines, the Argenta series, is also on display in this exhibition.","Matte white glaze with craqueler surface; Bowl with attached stepped vase; made for 'Surrea' series","",,"The Modernism Collection, gift of Norwest Bank Minnesota","98.276.234","Designer: Wilhelm Kåge; Manufacturer: Gustavsberg, Gustavsberg, Sweden","Artist","Swedish","Swedish, 1889-1960","","European Art","No Known Copyright","valid",3537,5151,1,"1",0,,,"[""40255"",""40603""]","picasso",0.15954863,,,,,,,,,,
"5781","Untitled","Platinum print"," Photographs","4 1/2 x 3 9/16 in. (11.43 x 9.05 cm) (image)
14 x 11 in. (35.56 x 27.94 cm) (mount)",,"North America","United States",,"1922","Not on View","20th century","Signature; Date","LR, beneath photo: [Paul Outerbridge, Jr.; 1922]","","At the beginning of the 20th century, scientists, philosophers and artists began to ask a fundamental question about vision: How do we see and interpret objects in a world that seemed to speed up with the new technologies of modernity'
Examples of this exploration of vision in art are presented in this gallery of paintings and sculptures. To study objects in space, artists favored portraits and still lifes that could be easily arranged. In painting, artists called attention to painting's two-dimensional surface and depicted objects that intersect, overlap, and fragment. In sculpture, they broke up three-dimensional forms into sections and left open spaces.
This international movement, often called Cubism, influenced American photographer Paul Outerbridge. This is seen in Outerbridge's careful arrangement of a cheese board, cheese, crackers, and knife. Note the objects' geometric shapes, the camera's dramatic perspective from above the scene, and the image's cropping and odd spatial arrangement. Two years after the photograph was taken, Outerbridge moved to Paris and became friends with Pablo Picasso, a leading cubist. As you look at the various works in the room, consider how the different media (painting, photography, sculpture) determine what an artist can depict in the cubist style.","photo of cheese and crackers with knife on cutting board; mounted to board","",,"The Alfred and Ingrid Lenz Harrison Fund","98.55","Photographer: Paul Outerbridge, Jr.","Artist","American","American, 1896 - 1958","%C2%A9 Estate of Paul Outerbridge%2C Jr. %2F G. Ray Hawkins Gallery","Arts of the Americas","In Copyright","valid",3459,4475,1,"1",0,,,"[""""]","picasso",0.15820351,,,,,,,,,,
"13189","Head Study III","Black chalk and graphite on ivory paper"," Drawings","16 1/4 × 11 3/4 in. (41.28 × 29.85 cm) (image)
24 × 20 × 1 1/4 in. (60.96 × 50.8 × 3.18 cm) (outer frame)","Drawing","Europe","Germany",,"1919","Not on View","20th century","Signature
On verso, in graphite [150]","[DIX], in LR","","Head Study III reveals an artist in his formative years contending with the celebrated creation of a brilliant artist ten years his senior. Here Otto Dix reinterpreted a Cubist sculpture made by Picasso in 1909. Many features are clearly recognizable: the massive waves of hair extending down to the bony ridges of the brow, the sharply defined diamond-shaped eyes, the long nose, the protuberant lips, the knobby chin, and the neck extending from the cowl collar. Dix paid close attention to the play of light over the faceted surface and rendered the form at one-to-one scale (the drawing and sculpture are both sixteen inches tall). What serves as a bit of background landscape is actually a quick notation of the juncture of eyes, nose, and brow.
Dix’s study is no coldly analytical examination. He has transformed Picasso’s introverted, meditative sculpture into an alert woman who will not tolerate any funny business. Such sparks of humor animated Dix’s art throughout his career. But he would move far beyond playfulness, propelled to the forefront of social-critical art.","Cubist head","[Margarete Schultz (Mrs. Karl Heinz Schultz), New York, until 1968; sold on March 3, through Grace Borgenicht Gallery, New York, for $1,350, to Petersons]; Hall James and Kate Butler Peterson, Petersham, Mass. (1968-2000; given to MIA).",,"Gift of Kate Butler Peterson","2000.242.9","Maker: Otto Dix","Artist","German","German, 1891–1969","%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn","European Art","In Copyright","valid",5569,7707,1,"1",1,"Lorenz 2003, no. EDV 1.1.11",,"[""""]","picasso",0.15820351,,,,,,,,,,
"125327","Cover of the ""Album d'estampes originales de la Galerie Vollard""","Color lithograph"," Prints","23 13/16 × 34 5/8 in. (60.48 × 87.95 cm) (sight)
31 3/4 × 41 3/4 × 1 1/2 in. (80.65 × 106.05 × 3.81 cm) (outer frame)","Print (portfolio cover)","Europe","France",,"1897","Not on View","19th century","","","","A prominent French painter, sculptor, and printmaker of the late nineteenth and early twentieth centuries, Pierre Bonnard demonstrated a deep commitment to the graphic arts as evidenced in his extensive oeuvre of editioned prints, illustrated books, and other publications. Among these varied works is this delightful lithographic album wrapper featuring a domestic interior with an assortment of fine art prints casually spread across a wooden table. Though he included no people, Bonnard activates the scene by including a playful house cat who strolls across the table and paws at a crumbled piece of paper. When folded vertically at the center, the oversize lithograph served as the outer wrapper for Ambroise Vollard’s second ""Album d'estampes originales"" (Album of Original Prints). Bonnard positioned the publication’s title and date on the right-hand side of the composition, thus assuring it would be centered when the sheet was folded. Vollard was the foremost publisher of prints and illustrated books in late nineteenth- and early twentieth-century Paris. Along with Bonnard, he worked regularly with such prominent artists as Edouard Vuillard, Georges Rouault, and Pablo Picasso.","interior view featuring five prints with still lives and landscapes in green and red on a round table with a red and white tablecloth; small grey cat in LRQ on top of table, batting at a crumpled piece of paper; text in URQ: ""6 rue Laffitte / 2e année / ALBUM / D'ESTAMPES / ORIGINALES / DE / LA GALERIE / VOLLARD / 1897""","Barbara Kaerwer, Minneapolis.; Estate of Barbara Kaerwer, Minneapolis; bequethed to MIA, 2016","From Album d'estampes originales de la Galerie Vollard","Bequest of Barbara Kaerwer in honor and memory of Dr. Harold Joachim, Minneapolis Institute of Arts Curator of Prints and Drawings, 1956-1958","2016.132","Artist: Pierre Bonnard; Publisher: Ambroise Vollard, Éditeur; Printer: Auguste Clot","Artist","French","French, 1867–1947","","European Art","No Copyright–United States","valid",10783,8176,0,"1",0,"Terrasse/Floury 24; Roger-Marx 41; Bouvet 41; Johnson 17; Ives 25",,"[""""]","picasso",0.15685838,,,,,,,,,,
"107166","Apocalyptical Space","Engraving, soft-ground etching, drypoint, burnishing, and scraping"," Prints","16 x 23 9/16 in. (40.64 x 59.85 cm) (plate)
18 3/16 x 15 3/8 in. (46.2 x 39.05 cm) (sheet)","Print","North America","United States",,"1944-1945","Not on View","20th century","Signature, Title, Date and Inscription
see Signed","LLC, in pencil: [Apocalyptical Space X]; LRC in pencil: [my litel 1944 Christmas card to Sue / M. LASANSKY]","","A major force in the American print renaissance of the mid-20th century, Lasansky was a leader in the establishment of university-based print workshops, founding the first Master of Fine Arts printmaking program in America in 1945 at the University of Iowa (Iowa City). A renowned modernist printmaker and teacher, he was instrumental in the reevaluation of printmaking as an original, expressive medium. The Argentinean-born Lasansky first arrived in America in 1943, taking up residence in New York City, where he studied intaglio printmaking with Hayter at Atelier 17. This formative experience allowed him to meet many of the leading American and émigré European modernists.
Like many artists who sought to convey the spiritual devastation and suffering of war, Lasansky used visual metaphor as an expressive vehicle, as in this dramatic print of 1945. His depiction of contorted horses and rider reacting to the agony of battle is indebted to similar figures prominently featured in the work of Picasso. Lasansky's composition also offers an oblique reference to the four horsemen of the apocalypse, which traditionally represent conquest, war, famine, and death.","abstract image with heads and front quarters and legs of horses; abstracted human facial features, hands and feet at left","The artist, 1944; gifted to Sue Fuller, 1944-2006; Estate of Sue Fuller, 2006; (Susan Teller Gallery, New York, c. 2007-08); (Armin Kunz, New York, 2009); given to MIA, 2009","From ","Gift of C.G. Boerner in honor of Dennis Michael Jon","2009.19.5","Artist: Mauricio Lasansky","Artist","American (born Argentina)","American (born Argentina), 1914-2012","%C2%A9 Estate Mauricio Lasansky","Arts of the Americas","In Copyright","valid",5209,3758,1,"1",0,"Zigrosser 61; Lasansky 64",,"[""""]","picasso",0.15685838,,,,,,,,,,true
"45515","The Juror","Lithographs, letterpress"," Books","11-3/8 x 9-1/8 x 1 in. (28.9 x 23.2 x 2.5 cm)","Illustrated book","Europe","Belgium",,"1887","Not on View","19th century","","","","","","(Librarie Landanchet, Paris)","From ","Gift of Ruth and Bruce Dayton","2001.95.2","Artist: Odilon Redon; Author: Edmond Picard; Publisher: Madame Veuve Monnom; Printer: Becquet, Paris","Artist","French","French, 1840–1916","","Prints and Drawings","No Copyright–United States","invalid","","",0,"1",1,"Mellerio 75-81",,"[""""]","picasso",0.15612312,,,,,,,,,,
"146634","Spiral Movements of Change/Mandala (study)","Graphite and collage"," Drawings; Collages / Assemblages; Works on Paper","5 3/4 × 6 in. (14.6 × 15.2 cm) (image, sheet, 4 drawings: a-d)
12 × 9 in. (30.5 × 22.9 cm) (image, sheet, 2 collages: e-f)","Drawings and collages","North America","United States",,"2007","Not on View","21st century","(a) verso, graphite: IMPERMANENCE - OF LIFE / OF EVERYTHING / TEMPORAL EXISTENCE / FLEXIBLE STRUCTURES / YET / LAND AS A MYSTIC THE PHYSICALITY OF LIFE/BODY ;
d) photo images combined for oceans/skies/grasses-Reality images / Mandala Series ;
f) THE SHAPE OF GROWTH / OF ACCUMULATION / OF THOUGHT / PATTERNS OF FLUX / MIRRORS OF TIME","","","","four drawings on square paper with torn perforations; and two collage pages; a) graphite drawing of a spiral shape like woven reeds, feather taped to verso; b) graphite drawing of a spiral woven shape; c) graphite drawing of a spiral woven shape; d) graphite and watercolor drawing with gold knot at center, blue circle, surrounded by gray rectangles; e) collage of magazine photos of spiral school of fish; craters, concentric rings, illustration of spiral of Archimedes, the equiangular spiral; e) collage of a brain illustration, photos of meandering river, blue tangled nerve bodies(?), with a quote by Picasso written in graphite: ""EVERYONE WANTS TO UNDERSTAND ART. WHY NOT / TRY TO UNDERSTAND THE SONG OF / A BIRD?""","",,"Gift of JoAnn Gonzalez Hickey","2023.105.89.1a-f","Artist: Elizabeth Turk","Artist","American","American, born 1961","","Global Contemporary Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","picasso",0.14077106,,,,,,,,,,
"139062","Blood Collage","Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper"," Collages / Assemblages; Works on Paper","20 5/8 × 15 1/8 in. (52.4 × 38.4 cm) (sheet)
29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame)","Collage with hand-applied media","Europe","England",,"c. 1850-60","Not on View","19th century","Extensive inscription quoting the Bible and religious poetry","","","John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served, notably, as the first Speaker of Newfoundland’s House of Parliament. In 1834 he returned to England, where he ran his family’s firm until his death at age 83. Forty-five accomplished, fantastical “Blood Collages” by Garland survive, all likely executed in the 1850s—62 years before the medium of collage was officially “invented” by Picasso or Braque. Garland’s practice grew out of the Victorian craze for scrapbooking and decoupage, but little from that period hints at the extraordinary artistic heights he would take it.
Drawing heavily on high-end reproductive prints of European masterworks, particularly religious art, as well as colorful, cheaply manufactured prints of flora, fauna, insects and reptile, he would meticulously cut and assemble hundreds of prints as source material to create astonishing, visionary collages. The works include extensive inscriptions of religious texts, gold and blue paper, painted gouache, and his signature drops of blood made with diluted red ink. The densely layered works incorporate a plethora of symbols—bleeding doves and crosses, red ankhs (Egyptian hieroglyph symbolizing life), serpents, skulls, stars, eggs—mixed with Christian and pagan imagery, architecture and ruins, sculpture, and archaeological fragments. It has been suggested that the mysterious, spiritual works reflect that the artist was a Freemason or member of the Knights of Templar.","paper collage with red blood drips and blue and gold birds; mostly black and white engravings with colored plants, foliage, and insects at left center and LRQ; imagery includes reclining reading woman with skull in LLC with blue and gold bird with blood drips above her and a butterfly on her head, crowned figure reading in a chariot pulled by a goat with a putto at LRQ, two armed angels with bird above them at top center, text written vertically in ULC, and Jesus in clouds with gold rays in ULQ; received in a medium toned wood frame","John Bingley Garland, Wimborne, Dorset, England (until d. 1875). Possibly, Sir Philip Burne-Jones (1861-1926), England ('until d. 1926); 'by descent, Peter Burne-Jones (until 1990; to Gibbs); [Christopher Gibbs, London; 1990–d.2018] Gibbs estate (2018-2019; to Libson-Yarker); [Lowell Libson & Jonny Yarker Ltd. British Art, London; 2019-21]; sold to MIA, 2021.","From ","The Driscoll Art Accessions Endowment Fund, the Anne and Hadlai Hull Endowment for Art Acquisition, and the Michael and Grace Bress Endowment for Art Acquisition","2021.22.1","Artist: John Bingley Garland","Artist",,"British, 1791–1875","","European Art","Public Domain","valid",5316,7016,0,"1",1,,,"[""""]","picasso",0.13456503,,,,,,,,,,
"139988","Blood Collage","Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper"," Collages / Assemblages; Works on Paper","20 5/8 × 15 3/16 in. (52.4 × 38.6 cm) (sheet)
29 9/16 × 24 7/16 × 1 3/4 in. (75.1 × 62.1 × 4.4 cm) (outer frame)","Collage with hand-applied media","Europe","England",,"c. 1850-60","Not on View","19th century","Extensive inscription quoting the Bible and religious poetry","","","John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served, notably, as the first Speaker of Newfoundland’s House of Parliament. In 1834 he returned to England, where he ran his family’s firm until his death at age 83. Forty-five accomplished, fantastical “Blood Collages” by Garland survive, all likely executed in the 1850s—62 years before the medium of collage was officially “invented” by Picasso or Braque. Garland’s practice grew out of the Victorian craze for scrapbooking and decoupage, but little from that period hints at the extraordinary artistic heights he would take it.
Drawing heavily on high-end reproductive prints of European masterworks, particularly religious art, as well as colorful, cheaply manufactured prints of flora, fauna, insects and reptile, he would meticulously cut and assemble hundreds of prints as source material to create astonishing, visionary collages. The works include extensive inscriptions of religious texts, gold and blue paper, painted gouache, and his signature drops of blood made with diluted red ink. The densely layered works incorporate a plethora of symbols—bleeding doves and crosses, red ankhs (Egyptian hieroglyph symbolizing life), serpents, skulls, stars, eggs—mixed with Christian and pagan imagery, architecture and ruins, sculpture, and archaeological fragments. It has been suggested that the mysterious, spiritual works reflect that the artist was a Freemason or member of the Knights of Templar.","paper collage with red crosses and blood drips; mostly black and white engravings with blue ground in ULC and colored flowers and leaves around edges; imagery includes reclining reading woman at bottom center with a large brown butterfly on her head, Classical female figures at left and right (figure at left seated, figure at right standing) wearing red garments with gold stars, central Sacred Heart with bird, gold rays and stars and figure of Jesus with the money changers, large angels descending from clouds in ULC; received in a medium toned wood frame","John Bingley Garland, Wimborne, Dorset, England (until d. 1875). Possibly, Sir Philip Burne-Jones (1861-1926), England ('until d. 1926); 'by descent, Peter Burne-Jones (until 1990; to Gibbs); [Christopher Gibbs, London; 1990–d.2018] Gibbs estate (2018-2019; to Libson-Yarker); [Lowell Libson & Jonny Yarker Ltd. British Art, London; 2019-21]; sold to MIA, 2021.","From ","Gift of funds from the Paul and Sheila Steiner Charitable Trust, the Alpha Gustafson Endowment, the John E. and Marion Andrus III Fund in Support of the Department of Prints and Drawings, the Richard Lewis Hillstrom Fund, the Eugene and Virginia Palmer Fund for Prints and Drawings, the Plautz Family Endowment, an anonymous donor, the James and Maureen Duffey Endowment for Prints and Drawings, gift of funds from Mary C. Dolan - the Longview Foundation, and five other generous donors","2021.22.3","Artist: John Bingley Garland","Artist",,"British, 1791–1875","","European Art","Public Domain","valid",5287,7033,0,"1",1,,,"[""""]","picasso",0.13456503,,,,,,,,,,
"139987","Blood Collage","Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper"," Collages / Assemblages; Works on Paper","20 1/4 × 15 1/4 in. (51.4 × 38.7 cm) (sheet)
29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame)","Collage with hand-applied media","Europe","England",,"c. 1850-60","Not on View","19th century","Extensive inscription quoting the Bible and religious poetry","","","John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served, notably, as the first Speaker of Newfoundland’s House of Parliament. In 1834 he returned to England, where he ran his family’s firm until his death at age 83. Forty-five accomplished, fantastical “Blood Collages” by Garland survive, all likely executed in the 1850s—62 years before the medium of collage was officially “invented” by Picasso or Braque. Garland’s practice grew out of the Victorian craze for scrapbooking and decoupage, but little from that period hints at the extraordinary artistic heights he would take it.
Drawing heavily on high-end reproductive prints of European masterworks, particularly religious art, as well as colorful, cheaply manufactured prints of flora, fauna, insects and reptile, he would meticulously cut and assemble hundreds of prints as source material to create astonishing, visionary collages. The works include extensive inscriptions of religious texts, gold and blue paper, painted gouache, and his signature drops of blood made with diluted red ink. The densely layered works incorporate a plethora of symbols—bleeding doves and crosses, red ankhs (Egyptian hieroglyph symbolizing life), serpents, skulls, stars, eggs—mixed with Christian and pagan imagery, architecture and ruins, sculpture, and archaeological fragments. It has been suggested that the mysterious, spiritual works reflect that the artist was a Freemason or member of the Knights of Templar.","paper collage with red crosses and blood drips; mostly black and white engravings with colored flowers, foliage, grapes, and snake; imagery includes figures flanking a blue decorative shield with gold crosses and text in LRQ, dead clergyman lying in state in LRC with crucified Christ above his face, figure on a bull at LLC, Classical man with a hole torn in his PL abdomen with a snake entwining his legs, Christ with a snake and flowers in ULQ, skulls with Mary Magdalene and Jesus in URQ; received in a medium toned wood frame","John Bingley Garland, Wimborne, Dorset, England (until d. 1875). Possibly, Sir Philip Burne-Jones (1861-1926), England ('until d. 1926); 'by descent, Peter Burne-Jones (until 1990; to Gibbs); [Christopher Gibbs, London; 1990–d.2018] Gibbs estate (2018-2019; to Libson-Yarker); [Lowell Libson & Jonny Yarker Ltd. British Art, London; 2019-21]; sold to MIA, 2021.","From ","The Driscoll Art Accessions Endowment Fund","2021.22.2","Artist: John Bingley Garland","Artist",,"British, 1791–1875","","European Art","Public Domain","valid",5273,7029,0,"1",1,,,"[""""]","picasso",0.13456503,,,,,,,,,,
"55856","Le Petit Equilibriste","Drypoint"," Prints","8 1/2 x 6 1/2 in. (21.59 x 16.51 cm) (plate)
12 3/4 x 9 3/4 in. (32.39 x 24.77 cm) (sheet)","Print","Europe","France",,"1914","Not on View","20th century","Signature","pencil, lower right","","Though nearly impossible to decipher, Jacques Villon’s composition portrays a circus equilibrist (acrobat) performing a handstand. The nearly abstract image bears the strong influence of the Cubism of Picasso and Braque, in which forms are fragmented and reassembled in multiple, shifting points of view. Here, Villon creates a complex pattern of alternating dark and light planes that simultaneously describes the subject while heightening the ambiguity of the depicted space. A sense of motion is implied by the flickering arrangement of darks and lights.","","","From ","The John R. Van Derlip Fund, 1966","P.13,788","Artist: Jacques Villon","Artist","French","French, 1875–1963","","Prints and Drawings","No Copyright–United States","invalid","","",0,"1",1,"A&P 201; G/P E287",,"[""""]","picasso",0.124840066,,,,,,,,,,
"44006","Perseus Beheading Medusa VIII","Color engraving, soft-ground etching, and scorper"," Prints","21 13/16 x 14 7/8 in. (55.4 x 37.78 cm) (plate)
25 3/4 x 18 5/8 in. (65.41 x 47.31 cm) (sheet, irregular)","Print","North America","United States",,"1945","Not on View","20th century","Inscribed in pencil, LL margin: A] (circled)
Ttiled in pencil, LC margin: Pegasus beheading Medusa VIII","Signed and dated in pencil, LR: André Racz 1945","WM present","André Racz joined the wave of artists who immigrated to America from Europe after the outbreak of World War II in 1939. A painter, sculptor, printmaker, and educator, Racz was active at Stanley Hayter's renowned experimental print workshop Atelier 17 in New York between 1943 and 1945.
Among the prints he produced there is this dramatic interpretation of the well-known mythic Greek hero-warrior Perseus, who victoriously holds the severed head of the slain Gorgon monster Medusa, whose powers include the ability to turn to stone those who dare look in her eyes. Perseus's story is a long and convoluted adventure. The son of Zeus and Danäe, Perseus embarked on a perilous journey to find and kill Medusa as a wedding gift for Polydectes, King of Serifos Island, who had pledged marriage to Danäe. Unbeknownst to Perseus, his mother had rejected the king's advances. On learning of the deception, Perseus holds the severed head of Medusa before the king and his court, turning all of them to stone.
Racz's composition was strongly influenced both by Hayter's distinct brand of abstract surrealism and Picasso's anguished and tormented images of mythical subjects.","","[Charles M. Young Fine Prints and Drawings, Portland, Conn.]; sold to MIA, 1999.",,"Gift of funds from the Print and Drawing Council","P.99.12.1","Artist: André Racz, American (born Romania)","Artist","American (born Romania)","1916-1994","%C2%A9 Estate Andr%C3%A9 Racz","Arts of the Americas","In Copyright","valid",3594,4987,1,"1",0,,,"[""""]","picasso",0.12143417,,,,,,,,,,
"3058","The Viaduct at L'Estaque","Oil on canvas"," Paintings","25 5/8 x 31 3/4in. (65.1 x 80.6cm)
25 x 31 in. (63.5 x 78.74 cm) (sight)
36 x 42 x 4 in. (91.44 x 106.68 x 10.16 cm) (outer frame)","Painting","Europe","France",,"1907","G367","20th century","Signature and Date","LL in purple: [G.Braque]; on verso: [G.Braque 1907]
The work appears to have been signed in the LL in green, just below the signature in purple, but painted over.","Labels on verso:
MIA label: [L82.4.1 Lent by Thaw Gallery]
Shipping label: [Eagle Transfer Corp., New York, New York, Ref. No. A-1310; item #14]
Dealer label: [Eugene Victor Thaw/726 Park Avenue/New York (printed); Braque/\""Le viaduc de l\'Estaque\""/1907/oil on canvas/25 5/8 x 31 7/8 inches (typewritten)]
Labels from original strainer: [5306]; [82]
Loan label: [Museum of Modern Art Loan P/B/ Minn. Inst./89.765]
Loan label: [fondation maeght, 06570 saint-paul (printed); Georges BRAQUE/ LE VIADUC DE L\'ESTAQUE 1907/ Huile sur toile/ 65 x 81 cm/ Collection E.V. Thaw and Co., New York (typewritten); 16 (in red marker)]
Loan label: [The Tate Gallery (printed); Inst. of Arts, Minneapolis/ Georges Braque/ Landscape at L\'Estaque/ The Essential Cubism/ 27 April - 10 July 1983/ cat. no. 1 (typewritten)]
Loan label: [Kunstmuseum Basel, Ausstellung (printed) Picasso-Braque 1990/ Georges Braque/ Viaduct at L\'Estaque. 1908/ Romilly 1 Poel/Lw. 65,1 x 80,6 cm/ Minneapolis I.Art, Minneap. (typewritten); sticker attached to label: [K61].","Between 1906 and 1910, Georges Braque made several trips to the south of France and the port at L'Estaque, just west of Marseilles. There, he found the new landscapes to paint using the nonnaturalistic colors of the Fauves.
During his 1907 stay, Braque also became influenced by the art of Paul Cézanne, who had painted there earlier. Like Cézanne, Braque reduced the site to simple geometric forms. Moving beyond Cézanne's solid masses, however, Braque made the tilting planes obey his own--rather than nature's--laws. Two years after finishing this picture, Braque abandoned Fauvism for Cubism.","Cubist landscape","Collection of the artist; (Galerie Kahnweiler, Paris, France by 1908); Countess Approsio, Monte Carlo, Monaco and Paris, France 1908-1979; (Galerie Berggruen, Paris, France by 1979); (E.V. Thaw & Co., New York, New York, 1981-1982); sold to MIA in 1982.",,"The John R. Van Derlip Fund, the Fiduciary Fund, and gift of funds from Mr. and Mrs. Patrick Butler and various donors","82.22","Artist: Georges Braque","Artist","French","French, 1882 - 1963","%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","European Art","In Copyright","valid",6032,4843,1,"1",0,"Romilly, 1.",,"[""""]","picasso",0.06784952,"[{""title"":""Braque, The Viaduct at L'Estaque"",""_id"":""3058"",""objectId"":""3058"",""link"":""http://audio-tours.s3.amazonaws.com/p389.mp3"",""number"":""389"",""type"":""audio""}]",true,,,,,,,,
"19411","Les Amoureux (The Lovers)","Colored chalks"," Drawings","11 x 19 1/2 in. (27.94 x 49.53 cm)","Drawing","Europe","France",,"c. 1959","Not on View","20th century","Signature","[Jean Cocteau], in chalk, lower right","","","Line drawing of two faces in close proximity; on left","",,"Gift of Mrs. Patrick Butler","69.13.9","Artist: Jean Cocteau","Artist","French","French, 1889 - 1963","%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","European Art","In Copyright","valid",6740,3836,1,"1",1,,"Conservation cost: $3,495
The multi-talented Jean Cocteau was among the most vital French artists of the 1900s. As a painter, illustrator, stage set designer, film-maker, and librettist, he ran with the likes of Pablo Picasso, Édith Piaf, Joan Miró, Marlene Dietrich, Salvador Dalí, Gertrude Stein, and Coco Chanel—to name a few famous friends.
Unfortunately, Mia’s drawing was at some point glued with rubber cement to a poor quality backing board. Not only do glue residues mar the appearance of the drawing, the backing board risks the long-term stability of the paper. The conservation proposal calls for releasing the drawing from the backing followed by reduction of the rubber cement residues. The result should be improved appearance and stability of Cocteau’s drawing.
Contact the Prints and Drawings Department at printstudy@artsmia.org or (612) 870-3113 to Champion this artwork.","[""""]","picasso",0.045760497,,,,,,,,,,