 巴勃罗·毕加索
休憩
作品介绍
Le Repos is a stunning and intimate depiction of Picasso’s
"golden muse," Marie-Thérèse Walter, and is among the most iconic
images of his oeuvre. Picasso's sensual paintings of his lover
Marie-Thérèse reign supreme as the emblems of love, sex and desire
in twentieth-century art. It was in a series of paintings executed
in 1932 that the artist introduced the young woman as an
extraordinary new presence in both his life and his art. The
present work depicts the serene model asleep, her head in Grecian
profile, resting on her forearm and interlaced fingers and is one
in a series of defining paintings of this period. Devoid of the
attributes that often accompany her in other compositions, such as
a book or a mandolin, or the more formal seated poses found in the
larger canvases, in the present work Marie-Thérèse’s striking
facial features are the main focus of the composition. His muse’s
potent mix of physical attractiveness and sexual naïvety had an
intoxicating effect on Picasso, and his rapturous desire for the
girl brought about a wealth of images that have been acclaimed as
the most erotic and emotionally uplifting compositions of his long
career. Picasso's unleashed passion is nowhere more apparent than
in the depictions of his muse seated or asleep, the embodiment of
tranquility and physical acquiescence.
Picasso first saw Marie-Thérèse on the streets of Paris in
1927, when she was only seventeen years old, while he was entangled
in an unhappy marriage to Olga Khokhlova. “I was an innocent girl,”
Walter remembered years later. “I knew nothing - either of life or
of Picasso... I had gone to do some shopping at the Galeries
Lafayette, and Picasso saw me leaving the Metro. He simply took me
by the arm and said, 'I am Picasso! You and I are going to do great
things together'” (quoted in Picasso and the Weeping Women
(exhibition catalogue), Los Angeles County Museum of Art, Los
Angeles & The Metropolitan Museum of Art, New York, 1994, p.
143). The couple's relationship was kept a well-guarded secret for
many years, both on account of Picasso's marriage to Olga and
Marie-Thérèse's age. But the covertness of the affair only
intensified Picasso's obsession with her, and many of his pictures,
with their dramatic contrasts of light and dark, allude to their
secret interludes.
The first dedicated series of paintings depicting
Marie-Thérèse was executed in January 1932 in anticipation of the
major retrospective that Picasso was planning that coming June. It
was during these preceding months that he first cast his artistic
spotlight on the voluptuous blonde. Up until this point he had only
made reference to his extramarital affair with Marie-Thérèse in
code, sometimes embedding her symbolically in a composition or
rendering her unmistakable profile as a feature of the background.
But by the end of 1931, Picasso could no longer repress the
creative impulse that his lover inspired, especially as his
marriage grew increasingly unbearable. John Richardson explains
that while Olga organized large holiday parties that December in an
attempt to demonstrate family unity, Picasso was involved in an
artistic blood-letting, painting violent or murderous depictions of
his wife. The exercise was a catharsis, Richardson claims, that
better enabled him to focus on a “languorous, loving painting of a
lilac-skinned Marie-Thérèse” (J. Richardson, A Life of Picasso,
Volume III, The Triumphant Years 1917-1932, New York, 2007, p.
466).
It is in works such as Le Repos that Picasso most successfully
celebrated Marie-Thérèse’s full, passive and golden beauty.
Abandoning the prevailing strands of geometric figuration and
shocking Surrealist deformation that characterized much of his work
of the 1920s, Picasso began to use emphatic arabesques and ample,
harmonizing curves. Early in 1930 Picasso provided his young lover
with an apartment at 44, rue la Boétie, not far from where he and
Olga lived. Soon afterward he bought the seventeenth-century
Château de Boisgeloup near Gisors, where he was able to spend time
with his young mistress away from his family. There he began to
make massive plaster sculptures inspired by her classical profile
and strong athletic body, a type of blonde beauty which had now
become for him the personification of ripeness and
fecundity.
“When a man watches a woman asleep,” Picasso confessed, “he
tries to understand” (quoted in J. Richardson, A Life of Picasso,
Volume I: 1881-1906, New York, 1991, p. 317). The theme of the
sleeping woman recurred in a series of works that explored his
mistress in different poses, either fully recumbent or seated. The
image of sleep and the way in which Marie-Thérèse appears to lose
herself in its oblivion links this work, via its association with
the unconscious, to Picasso's most fertile Surrealist images.
Roland Penrose, who was one of Picasso's Surrealist associates,
said the following about these paintings: “Most of these figures
painted with flowing curves lie sleeping, their arms folded round
their heads... The sleeper's breasts are round and fruitlike and
her hands finish like the blades of summer grass. The profile of
the face, usually with closed eyes, is drawn in one bold curve
uniting forehead and nose above thick sensuous lips” (R. Penrose,
Picasso, His Life and Work, London, 1958, p. 243). In the present
painting, Picasso combined yellow and violet, colors that he
favored in his treatment of Marie-Thérèse’s hair and flesh. He also
places her head between two other complementary hues, red and
green, thickly applied onto the canvas and enhanced by the use of
black. Writing about another of these sleeping women, Robert
Rosenblum makes this point: “The eruptive force of Picasso’s
passion could even be translated into language: for in words as
well he made love to Marie-Thérèse, describing her rapturously and
chromatically in the image-ridden, unpunctuated flow of his poetry
of 1935, [with] her ‘cheveux blonds’ and her ‘bras couleurs lilas’”
(Picasso and Portraiture: Representation and Transformation
(exhibition catalogue), The Museum of Modern Art, New York &
Galeries Nationales du Grand Palais, Paris, 1996-97, p. 345). It
was not just in coloration that Picasso’s works evolved during the
Marie-Thérèse years but also in form. Patrick McCaughey wrote about
the canvases depicting Picasso’s muse: “Marie-Thérèse embodied for
Picasso an ideal type – love, model and goddess. She offered him a
release into sensuality and inspired the series of reclining,
sleeping nudes of the early 1930s. Through Marie-Thérèse, Picasso
discovered a new amplitude of form; less solemn than the monumental
neo-classical nudes of the 1920s and with a promise of abundance
and pleasure. She was also the model for an extensive series of
large sculpted heads which progressively became more Sibyl-like –
an image of eternal womanhood” (P. McCaughey in Picasso (exhibition
catalogue), National Gallery of Victoria, Melbourne & Art
Gallery of New South Wales, Sydney, 1984, p. 211).
A major event that coincided with the execution of the present
work was the large retrospective exhibition held at Galerie Georges
Petit in Paris in June and July 1932, and at Kunsthaus in Zurich
from September to November that same year. Picasso was closely
involved in selecting works for the exhibition, and chose to hang
his recent portraits of Marie-Thérèse alongside his earlier Cubist
and Surrealist compositions. The retrospective was a huge success,
drawing large numbers of visitors daily, and included many
important works, among them the seminal Marie-Thérèse oil Le Rêve.
It was on this occasion in Paris that Olga, upon seeing Picasso's
numerous references to a specific face that was clearly not her
own, was alerted to the presence of another woman in her husband's
life. Until the exhibition, Picasso's relationship with
Marie-Thérèse had been a secret affair, the evidence of which he
had kept sealed away at the studio he maintained at Boisgeloup. He
had purchased this property near Gisors in 1930 as a retreat, where
he could escape from Olga and spend time alone with his mistress.
The Chateau at Boisegeloup was much larger than his studio in
Paris, and the space allowed him to create the monumental plaster
busts of Marie-Thérèse that were depicted in several
paintings.
Writing about the days and weeks immediately after the opening
of his retrospective at Galerie Georges Petit, John Richardson
describes the present work “The day after the opening, Picasso was
back working at Boisgeloup. He had the place to himself—and
Marie-Thérèse. Olga and Paulo had been packed off to Juan-les-Pins;
whether he ever intended to join them, he never did. The small
reclining nudes of Marie-Thérèse asleep exude a tenderness and
intimacy that was missing from most of the larger, more stylized
portrayals that Picasso had done of her for his retrospective.
Indeed, a profile of Marie-Thérèse cradling her head in her hands
[the present work], silkily painted onto a small square canvas, is
as loving as any of his images of her. With their flipper limbs and
gorgeous buttocks, and free-and-easy facture, these little
paintings—mostly done while the show was still on—constitute a
touching epilogue to the daunting set pieces of the winter and
early spring” (J. Richardson, A Life of Picasso, Volume III, The
Triumphant Years 1917-1932, New York, 2007, pp.
479-80).
Having been released into the public domain, after this
exhibition, Marie-Thérèse's features would become more readily
identifiable in Picasso's art. Robert Rosenblum wrote about the
young woman's symbolic unveiling: "Marie-Thérèse, now firmly
entrenched in both the city and country life of a lover
twenty-eight years her senior, could at last emerge from the wings
to center stage, where she could preside as a radiant deity, in new
roles that changed from Madonna to sphinx, from odalisque to earth
mother. At times her master seems to worship humbly at her shrine,
capturing a fixed, confrontational stare of almost supernatural
power; but more often, he becomes an ecstatic voyeur, who quietly
captures his beloved, reading, meditating, catnapping, or
surrendering to the deepest abandon of sleep" (R. Rosenblum in
Picasso and Portraiture: Representation and Transformation
(exhibition catalogue), The Museum of Modern Art, New York, 1996,
p. 342).
Picasso was not the only one who found Marie-Thérèse’s
physical presence irresistible. “I found her fascinating to look
at,” reported Françoise Gilot upon meeting her rival in 1949. “I
could see that she was certainly the woman who had inspired Pablo
plastically more than any other. She had a very arresting face with
a Grecian profile.… She was very athletic; she had that high-color
look of glowing good health one often sees in Swedish women. Her
form was very sculptural, with a fullness of volume and a purity of
line that gave her body and her face an extraordinary perfection”
(quoted in L’Amour fou, Picasso and Marie Thérèse (exhibition
catalogue), Gagosian Gallery, New York, 2011, pp. 71-72).
The frank and uncomplicated avowal of Picasso’s desire and
love for Marie-Thérèse is particularly evident in this work, and
serves as a reminder that for her, too, this period was a happy and
fulfilling one. As she said many years later, “He covered me with
his love.”
 FIG. 1
Marie-Thérèse Walter,
Leysin, Switzerland, circa 1929, Archives Maya Widmaier
Picasso
 FIG. 2
Pablo Picasso, Femme assise
près d’une fenêtre, 1932, oil on canvas, sold: Sotheby’s, London,
Febuary 5, 2013, lot 12 for $44,773,404
 FIG. 3
Marie-Thérèse at the
beach
 FIG. 4
Andre BrassaÏ, Plasters of
Bust of a Woman and Head of a Woman by Pablo Picasso, photograph,
Boisgeloup, December 1932, Archives Picasso, Musée Picasso,
Paris
 FIG. 5
Pablo Picasso, Nature morte
aux tulipes, 1932, oil on canvas, sold: Sotheby’s, New York,
November 5, 2012, lot 9 for $41,522,500
 FIG. 7
Picasso’s studio at
Boisgeloup, 1931
 FIG. 8
Pablo Picasso, Femme nue,
feuilles et buste, 1932, oil on canvas, sold: Christie’s, New York,
May 4, 2010 for $106,482,496
 FIG. 9
Pablo Picasso, Blind
Minotaur Led by a Little Girl in the Night (from the Suite
Vollard), 1934-35, aquatint, drypoint and burin
engraving
参考译文
《休憩》 对毕加索的“金色缪斯”玛丽 -
泰瑞斯·沃尔特来说，这是一幅令人惊叹的亲密描写，也是他作品中最具标志性的画面之一。毕加索的情人玛丽 -
泰瑞斯（Marie-Thérèse）的性感画作在二十世纪艺术中作为爱，性和欲望的象征至高无上。在1932年创作的一系列绘画作品中，艺术家将这位年轻女性介绍为他生活和艺术中非凡的新面孔。《休憩》描绘了宁静的模特睡着了，她的头部采用希腊式的轮廓，搁在她的前臂和交错的手指上，是这一时期的一系列定义画作中的一个。在其他作品中没有经常伴随的属性，例如书或曼陀林，或者在较大的画布中发现的更正式的坐姿，在目前的作品中，Marie-Thérèse引人注目的面部特征是构图的主要焦点。他的缪斯强大的身体吸引力和性天真的混合对毕加索产生了令人陶醉的影响，他对女孩的狂热欲望带来了丰富的图像，这些图像被誉为他漫长职业生涯中最色情和情感上最令人振奋的作品。毕加索的激情无处不在于他对坐着或睡着的缪斯的描绘，这是对宁静和身体默许的体现。他对女孩的狂热欲望带来了丰富的图像，这些图像被誉为他漫长职业生涯中最色情和最令人振奋的作品。毕加索的激情无处不在于他对坐着或睡着的缪斯的描绘，这是对宁静和身体默许的体现。他对女孩的狂热欲望带来了丰富的图像，这些图像被誉为他漫长职业生涯中最色情和最令人振奋的作品。毕加索的激情无处不在于他对坐着或睡着的缪斯的描绘，这是对宁静和身体默许的体现。
1927年，毕加索在巴黎街头第一次看到玛丽 -
泰瑞斯，当时她只有十七岁，而他与奥尔加·科赫洛娃的婚姻陷入了不愉快的纠结。“我是一个无辜的女孩，”多年后沃尔特记得。“我什么都不知道
-
无论是生活还是毕加索......我去了老佛爷百货公司购物，而毕加索看到我离开了地铁。他只是搂着我说：’我是毕加索！你和我将一起做伟大的事情'“（引自
第一幅描绘Marie-Thérèse的专辑系列作于1932年1月，期待毕加索计划于6月份进行的重大回顾。正是在这几个月里，他首次将自己的艺术聚光灯投射到性感的金发女郎身上。直到此时他才在代码中提到他与Marie-Thérèse的婚外恋，有时将她象征性地嵌入作曲中，或者将她明确无误的轮廓作为背景的特征。但到了1931年底，毕加索再也无法抑制他的爱人所激发的创作冲动，尤其是当他的婚姻越来越难以忍受时。约翰理查森解释说，虽然奥尔加在12月组织了大型假日聚会，试图展示家庭团结，但毕加索参与了艺术的血统，画他妻子的暴力或杀人的描绘。Richardson声称，这次练习是一种宣泄，更能让他专注于“一种淡淡的，有爱心的淡紫色皮肤玛丽
- 泰瑞丝画”（J. Richardson，
“毕加索的生平”，第三卷，“胜利年代1917-1932”，纽约，2007年，p.466）。
这是在《休憩》等作品中毕加索最成功地庆祝了Marie-Thérèse的完整、被动和金色的美。毕加索放弃了20世纪20年代大部分作品中流行的几何形状和震撼的超现实主义变形，开始使用强烈的蔓藤花纹和充足的和谐曲线。1930年初，毕加索为他的年轻情人提供了44号公寓，位于ruelaBoétie，距离他和奥尔加居住的地方不远。不久之后，他在Gisors附近买下了十七世纪的ChâteaudeBoisgeloup，在那里他能够与年轻的情妇一起远离家人。在那里，他开始制作大量的石膏雕塑，灵感来自她的古典轮廓和强大的运动身体，这种金发美女现在已成为他成熟和繁殖的化身。
“当一个男人看着一个女人睡着了，”毕加索坦白道，“他试图理解”（引自J.
Richardson，
与当前作品的创作同时发生的重大事件是1932年6月和7月在巴黎Gorie Georges
Petit举行的大型回顾展，同年9月至11月在苏黎世的Kunsthaus举行。毕加索密切参与为展览选择作品，并选择挂起他最近的玛丽 -
泰瑞斯肖像以及他早期的立体主义和超现实主义作品。回顾展取得了巨大的成功，每天都吸引了大量的参观者，其中包括许多重要的作品，其中包括开创性的Marie-Thérèse油画《梦》（Le
Rêve）
。正是在巴黎的这个场合，奥尔加在看到毕加索多次提到一张明显不属于她自己的特定面孔时，被警告在她丈夫的生命中有另一个女人。在展览开始之前，毕加索与Marie-Thérèse的关系是一个秘密事件，他在Boisgeloup维护的工作室里一直保密。他于1930年在Gisors附近购买了这处房产作为撤退，在那里他可以逃离奥尔加，独自与情人共度时光。Boisegeloup的城堡比他在巴黎的工作室大得多，这个空间让他可以创作出几幅画中描绘的Marie-Thérèse的巨大石膏半身像。
John Richardson在Galerie Georges
Petit回顾展开幕后的几天和几周后写下了当前的作品“开幕后的第二天，毕加索回到Boisgeloup工作。他有自己的位置 -
和Marie-Thérèse。奥尔加和保罗已被包装到Juan-les-Pins;
他是否打算加入他们，他从未这样做过。Marie-Thérèse睡着的小斜倚的裸体散发出一种温柔和亲密感，毕加索为回顾展所做的大部分更大，更风格化的描写都缺少了这种温柔和亲密感。事实上，玛丽
-
泰瑞斯（Marie-Thérèse）手中的头像[现在的作品]，画在一块小方形画布上，就像他对她的任何形象一样充满爱意。他们的鳍状肢和华丽的臀部，以及自由自在的制服这些小画作
- 主要是在节目还在播放的时候完成 - 构成了对冬季和早春令人生畏的作品的感人结局“（J.
Richardson，
在本次展览结束后，在毕加索的艺术作品中，Marie-Thérèse的特征已经进入公共领域，将更容易被识别出来。罗伯特·罗森布鲁姆（Robert
Rosenblum）写到这位年轻女子的象征性揭幕：“玛丽 -
泰瑞斯，现在已经在她的大四十八岁的情人的城市和乡村生活中根深蒂固，终于可以从翅膀升到中心舞台，在那里她可以主持作为一个容光焕发的神，在从麦当娜变为狮身人面像，从odalisque到地球母亲的新角色中。有时她的主人似乎谦卑地崇拜她的圣地，捕捉到几乎超自然力量的固定的，对抗性的凝视;但更多时候，他变成一个欣喜若狂的偷窥者，他悄悄地捕捉到他心爱的人，阅读，冥想，俘虏或屈服于最深度的睡眠“（R.Rosenblum
in
毕加索和肖像画：代表和转型
毕加索并不是唯一一个发现Marie-Thérèse身体不可抗拒的人。“我发现她看起来非常迷人，”FrançoiseGilot在1949年与她的竞争对手见面时说道。“我可以看出她肯定是比任何其他人更能塑造巴勃罗的女性。她有一张非常引人注目的脸，带有希腊式的轮廓......她非常运动;
她有瑞典女性经常看到的那种发色健康的高色外观。她的造型非常具有雕塑感，丰满的体积和纯净的线条赋予她的身体和她的脸部非凡的完美“（引自
毕加索对Marie-Thérèse的渴望和热爱的坦率和简单的公开在这项工作中尤为明显，并提醒她，对于她来说，这段时期也是一个快乐和充实的时期。正如她多年后所说，“他以他的爱覆盖了我。”
图1
Marie- ThérèseWalter
，Leysin，瑞士，大约 1929年，Archives Maya Widmaier Picasso
图2
Pablo
Picasso，Femmeassiseprèsd'unefenêtre，1932年，布面油画，卖出：苏富比拍卖行，伦敦，2013年2月5日，拍品12，现价$
44,773,404
图3
Marie-Thérèse在海滩上
图4
AndreBrassaÏ，女人的半身像和Pablo
Picasso女人的头像，照片，Boisgeloup，1932年12月，Archives
Picasso，MuséePicasso，巴黎
图5
Pablo Picasso，Nature morte
aux tulipes，1932年，布面油画，已售出：苏富比拍卖行，纽约，2012年11月5日，拍品9，现价$
41,522,500
图6
Pablo
Picasso，LeRêve，1932年，布面油画，私人收藏
图7
1931年毕加索在Boisgeloup的工作室
图8
Pablo Picasso，Femme
nue，feuilles et buste，1932，布面油画，已售出：Christie's，纽约，2010年5月4日，现价$
106,482,496
图9
Pablo
Picasso，盲人牛头怪由夜间的小女孩（来自Vollard套房）引导，1934-35，aquatint，drypoint和burin
engraving
作品细节
巴勃罗·毕加索 休憩 巴勃罗·毕加索 休憩 巴勃罗·毕加索 休憩 巴勃罗·毕加索 休憩 巴勃罗·毕加索 休憩 巴勃罗·毕加索 休憩 巴勃罗·毕加索 休憩 巴勃罗·毕加索 休憩 巴勃罗·毕加索
休憩
画家简介
巴勃罗·毕加索（Pablo
Picasso，1881-1973）出生在西班牙马拉加（Malaga），是当代西方最有创造性和影响最深远的艺术家之一，立体画派创始人，毕加索和他的画在世界艺术史上占据了不朽的地位。毕加索是位多产画家。据统计，毕加索的作品总计近
37000 件，包括：油画1885 幅，素描7089 幅，版画20000 幅，平版画6121幅。
巴勃罗·毕加索是个不断变化艺术手法的探索者，印象派、后印象派、野兽派的艺术手法都被他汲取改选为自己的风格。毕加索的才能在于，他的各种变异风格中，都保持自己粗犷刚劲的个性，而且在各种手法的使用中，都能达到内部的统一与和谐。毕加索有过登峰造极的境界，他的作品不论是陶瓷、版画、雕刻都如童稚般的游戏。在毕加索一生中，从来没有特定的老师，也没有特定的子弟，但凡是在二十世纪活跃的画家，没有一个人能将毕加索打开的前进道路完全迂回而进。也正因此毕加索是一位真正的天才。20世纪正是属于毕加索的世纪。毕加索在这个多变的世纪之始从西班牙来到当时的世界艺术之都巴黎，开始他一生辉煌艺术的发现之旅。在20世纪，没有一位艺术家能像毕加索一样，画风多变而人尽皆知。毕加索的盛名，不仅因他成名甚早和《亚威农的少女》、《格尔尼卡》等传世杰作，更因他丰沛的创造力和多姿多彩的生活，他留下了大量多层面的艺术作品。毕加索完成的作品统计约多达六万到八万件，在绘画、素描之外，也包括雕刻、陶器、版画、舞台服装等造型表现。在毕加索1973年过世之后，世界各大美术馆不断推出有关他的各类不同性质的回顾展，有关毕加索的话题不断，而且常常带有新的论点，仿佛他还活在人间。
作品资料
美國私人收藏
巴布羅 · 畢加索
《休憩》
估價
款識：畫家簽名Picasso並紀年XXXII（右下）
油彩畫布
18 1/8 x 18 1/8 英寸
46 x 46 公分
1932年作
印象派及現代藝術晚拍
2018年5月14日 | 下午 7:00 EDT紐約
來源
喬治·帕蒂畫廊，巴黎
茲威默畫廊，倫敦（1984年或之前購入）
馬勃洛畫廊，倫敦
伊拉·寇迪塞克，倫敦（售出：倫敦佳士得，1993年6月23日，拍品編號318）
私人收藏，倫敦（購自上述拍賣；售出：紐約蘇富比，2000年11月9日，拍品編號37）
購自上述拍賣
展览历史
倫敦，茲威默畫廊，〈米羅、博雷斯、畢加索〉，1948年，品號5
相关文献
克里斯蒂安·澤爾沃斯，《巴布羅·畢加索》，巴黎，1955年，第VII冊，品號387，圖版171載圖
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巴勃罗·毕加索
休憩
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