 巴勃罗·毕加索
作品介绍
‘In matters of love you have kept in line with the
masters’
(Georges Braque, quoted in A. Danchev, Georges Braque: A Life,
New York, 2005, p. 233)
‘She has within her that wonderful power on which the painter
feeds. She flows. She is made for it and gives of herself and
devotes herself and dies in harness though living all the while and
never posing. She harbours that multiplicity of herself... She
unfurls ad infinitum. She invades everything. She becomes all
characters. She takes the place of all models of all the artists on
all the canvases. All the portraits resemble her, even though they
may not resemble each other. All the heads are hers and there are a
thousand different ones’
(Hélène Parmelin, Picasso: Intimate Secrets of a Studio at
Notre Dame de Vie, New York, 1966, pp. 14-15)
‘They lived in a world of his own
creation
where he reigned almost as a king
yet cherished only two treasures –
freedom to work and the love of Jacqueline’
(David Douglas Duncan, Picasso and Jacqueline, New York, 1988,
p. 9)
Languidly reclining on a wicker chair, her arms stretched
above her head in a pose of seductive insouciance, the figure of
Jacqueline Roque, the last great love of the artist’s life, serves
as the protagonist of Pablo Picasso’s Femme se coiffant. Painted on
3 January 1956, less than two years into their relationship, it is
one of a series of works in which the artist has painted his new
lover and muse in this classically-inspired pose as she arranges
her hair. Here however, Picasso has depicted Jacqueline with a
captivating and conscious allure, oozing sensuality as she offers
herself to the gaze of her rapt lover. Among the earliest paintings
of the twenty-year period that has become termed ‘L’Époque
Jacqueline’, Femme se coiffant presents the visual iconography that
Picasso would return to time and time again in his late depictions
of the female figure. Jacqueline’s shock of luscious,
raven-coloured hair, deep brown almond-shaped eyes, and regal,
aquiline profile would become the features found in the plethora of
portraits in Picasso’s late period, as her powerful, indispensable
presence found its way into everect of the artist’s work. ‘It
is her image that permeates Picasso’s work from 1954 until his
death, twice as long as any of her predecessors’, the artist’s
biographer John Richardson has written. ‘It is her body that we are
able to explore more exhaustively and more intimately than any
other body in the history of art… And lastly it is her
vulnerability that gives a new intensity to the combination of
cruelty and tenderness that endows Picasso’s paintings of women
with their pathos and their strength’ (J. Richardson, Late Picasso,
exh. cat., London, 1988, p. 47).
Picasso had met the young Jacqueline Roque in the summer of
1952. Recently divorced with a young daughter, Catherine, Roque was
working as a sales assistant at the Madoura ceramic studio in
Vallauris, where the artist would frequently create his ceramics.
At this time, Picasso was still living with his then-lover,
Françoise Gilot, and their two young children, Claude and Paloma,
in La Galloise, their home near Vallauris. By September of the
following year, however, their relationship, which had been
gradually deteriorating, came to a dramatic and conclusive end,
with Gilot leaving the artist and returning with her two children
to Paris. Soon after she left, the artist began to see Jacqueline,
and by 1954 the pair were a couple, with her unmistakable features
appearing in his art in the summer of this year. ‘How could I have
had any reservations about Pablo’s intentions?’ (J. Picasso, quoted
in ibid., p. 17), Jacqueline said of these exuberant,
passion-filled pictorial declarations of love. For the rest of his
life Jacqueline was a constant, unfailing presence in the artist’s
life. After the death of his first wife Olga, the pair finally
married in 1961, in a ceremony that included just two witnesses,
the artist’s lawyer and a cleaning lady. Calm, unfailingly loyal
and completely besotted with Picasso, Jacqueline occupied every
role the artist could need; she was his devoted protector and
guardian, assistant both personal and artistic, loyal friend and
ever dutiful muse. As William Rubin has described, ‘Jacqueline’s
understated, gentle, and loving personality combined with her
unconditional commitment to [Picasso] provided an emotionally
stable life and a dependable foyer over a longer period of time
than he had ever before enjoyed’ (W. Rubin, quoted in Picasso &
Jacqueline: The Evolution of Style, exh. cat., New York, 2014-2015,
p. 190). Indeed, Jacqueline later said that throughout their lives
together, she never left Picasso’s side for more than a few hours
at a time.
 巴勃罗·毕加索
The couple moved into a grand, spacious villa, La Californie
in 1955. This now-legendary home and studio – so immortalised in
photographs it has become arguably the artist’s most famous
residence – offered large living spaces in which Picasso could
surround himself with his paintings, sculptures and other
possessions, and also enable him to live and work in the same
interchangeable space. Within these ornate rooms, the artist’s
beloved Thonet bent-wood wicker-backed rocking chairs took pride of
place, appearing countless times in photos and paintings –
particularly the atelier scenes the artist was working on at this
time – of La Californie, and serving as the object on which
Jacqueline is reclining in the present work. ‘Jacqueline sometimes
mirrored Picasso sitting in his favourite turn-of-the-century
rocker. He had two’, the photographer and friend of the artist,
David Douglas Duncan recalled. ‘They followed him whenever he
changed homes, his always faithful refuge in which to curl up,
isolated – just to think. One of his first portraits of Jacqueline
was drawn in charcoal when she pulled her feet up into the
companion chair [Zervos XVI, no. 326]’ (D.D. Duncan, Picasso and
Jacqueline, New York, 1988, p. 123).
Femme se coiffant is part of a series of paintings and
drawings that Picasso made in January 1956, depicting Jacqueline
with her arms folded above her head (Zervos XVII, nos. 2-19, 22-32,
35). In several related ink drawings, Jacqueline is clearly shown
tying up her hair, and it is this action that she appears to be
undertaking in the present work. On the same day that he painted
Femme se coiffant, Picasso also completed Femme nu accroupie
(Zervos XVII, no. 2), which shows a seated nude in the same
position, and the following day, the artist created the large and
monumental Femmes à la toilette (now in the Musée Picasso, Paris),
which similarly continues on the theme of the present work,
depicting two nude figures, one standing and the other seated while
she combs through her hair. The range of iterations of this pose
suggests that the artist was clearly taken by this motif.
Transforming his ever-present muse from nude to clothed, primitive
to classical, mythological to contemporary, Picasso immersed
himself in the depiction of his adoring lover. Throughout the rest
of 1956, Picasso continued to return to the image of Jacqueline,
adorned in the same deep green dress, seated, as in the present
work, pensively in the same wicker chair. Regal and statuesque,
Jacqueline appears in Femme se coiffant and the rest of these
paintings as an unmovable, everlasting presence in the artist’s
world; an essential presence in his life and
art.
This pose runs like a thread throughout Picasso’s entire
oeuvre. The theme of the woman arranging her hair has a long and
distinguished history in Western art, dating back to a lost
masterpiece by the Classical Greek painter, Apelles, which depicts
the iconic motif of the goddess Aphrodite rising from the sea and
wringing out her long flowing hair. From Titian and Ingres, to
modern artists who reframed this pose in an unequivocally
contemporary setting such as Degas, who captured women immersed in
this private, intimate ritual, and Renoir who likewise pictured
voluptuous nudes in their toilette, this theme provided rich
stimulus for artists, and Picasso was no exception. Throughout his
career, this motif had appeared repeatedly, beginning in the remote
Spanish village of Gósol in the summer of 1906 with Femme se
coiffant (Museum of Modern Art, New York) and Le Harem (Cleveland
Museum of Art, Cleveland). A year later, this same seductive stance
was once more transformed in the artist’s monumental,
groundbreaking work, Les Demoiselles d’Avignon (1907, Museum of
Modern Art, New York), in which the centre figure stands frontally,
both arms raised above her head in a pose of unabashed, unequivocal
sexual power.
The theme of the seated female portrait is also reminiscent of
an artist who was at the forefront of Picasso’s mind at this time:
Henri Matisse. Picasso had once declared: 'You have got to be able
to picture side by side everything Matisse and I were doing at that
time. No one has ever looked at Matisse’s painting more carefully
than I; and no one has looked at mine more carefully than he’
(Picasso, quoted in J. Golding, 'Introduction’, in E. Cowling et
al., Matisse Picasso, exh. cat., London, 2002, p. 13). The artist’s
lifelong friend and greatest rival, Matisse had died in November
1954. Devastated, Picasso did not attend his funeral, his death
greatly affecting the artist for years to come. As he had
throughout his life, Picasso processed his grief through his art.
Most famously, the artist’s great 1954-55 series Les Femmes
d’Alger, which he begun just six weeks after Matisse’s death, paid
homage not only to Delacroix, but to Matisse and his exotic
Orientalist visions, complete with recumbent, decoratively adorned
odalisques. ‘When Matisse died,’ Picasso told Roland Penrose, ‘he
left his odalisques to me as a legacy, and this is my idea of the
Orient though I have never been there’ (Picasso, quoted in R.
Penrose, Picasso: His Life and Work, Berkeley, 1981, p. 396).
Likewise Picasso’s subsequent atelier scenes of the mid-1950s serve
as tributes to the great French artist’s late series of Vence
interiors.
Throughout Matisse’s career, the theme of the seated woman
pictured in richly decorative interiors had served as endless
inspiration for the artist. Picasso himself owned one such
painting: Jeune fille assise, robe persane, from 1942 (Musée
Picasso, Paris). Considered together, this work and Femme se
coiffant abound in similarities: both female protagonists are
pictured with a knowing, somewhat seductive, beguiling and powerful
gaze, their casual, relaxed poses – Matisse’s figure is languidly
reclining in a large, leather-backed chair, her elbow resting on
her arm as she props herself up – exuding an air of compelling
confidence and self-assurance. Likewise, both artists have
translated their models onto the canvas with a combination of
flattened colour and line. While Picasso’s monochrome background is
undoubtedly a stark contrast to Matisse’s rich green interior
setting, these artists have both used pattern – Picasso in the
crisscross pattern of the wicker chair, Matisse in the decorative
leaf motif of the background – to define the visual space and frame
their revered female sitters.
 巴勃罗·毕加索
参考译文
“在爱情问题上，你一直与大师保持一致”
（Georges Braque，引自A. Danchev，Georges Braque：A Life，New
York，2005，p.233 ）
'她内心拥有这种奇妙的力量画家饲料。她流了。她是为自己而生，为了自己而牺牲自己，尽管一直生活，从不冒充身亡。她拥有自己的多样性......她无限地展开。她入侵了一切。她变成了所有角色。她取代了所有画家中所有艺术家的所有模特。所有的肖像都像她一样，即使它们可能彼此不相似。所有的头都是她的，有一千种不同的
头像（HélèneParmelin，Picasso：Notre Dame de
Vie工作室的私密秘密），纽约，1966年，第14-15页）
'他们生活在他自己创造的世界
里，他几乎作为国王统治，
但只珍惜两件宝物 -
工作的自由和杰奎琳的爱'
（David Douglas Duncan，毕加索和杰奎琳，纽约，1988年，第9页）
慵懒地躺在藤椅上，她的手臂伸展在头顶上，姿势诱人无助，杰奎琳罗克的形象，这是艺术家生命的最后一次热爱，作为巴勃罗·毕加索的《梳头发的女人》的主角。1956年1月3日，他们的关系不到两年，这是一系列作品之一，艺术家在她安排她的头发时，用这种经典灵感的姿势描绘了他的新情人和缪斯。然而，在这里，毕加索用一种迷人而有意识的魅力描绘了杰奎琳，当她向自己的狂热爱人凝视时，她的性感渗出。在二十年代最早被称为'杰奎琳时代
'的画作中，《梳头发的女人》呈现了毕加索在他对女性形象的最新描述中一次又一次地回归的视觉图像。杰奎琳的甜美，乌黑色的头发，深褐色的杏仁形眼睛，以及富豪，高原的轮廓的震撼将成为毕加索晚期大量肖像中的特征，因为她强大，不可或缺的存在进入了每个方面。艺术家的作品。“这是她的形象贯穿毕加索从1954年到他去世的作品，是她的任何前辈的两倍，这位艺术家的传记作者约翰理查森写过。
1952年夏天，毕加索遇见了年轻的杰奎琳·罗克。最近与一个年幼的女儿凯瑟琳离婚，罗克在瓦洛里
（Vallauris）的Madoura陶瓷工作室担任销售助理，艺术家经常在那里制作他的陶瓷。此时，毕加索仍与他当时的情人佛朗索瓦斯-吉洛特和他们的两个小孩克劳德和帕洛玛住在威尔士，他们是瓦洛里
1955年，这对夫妇搬进了加利福尼亚宽敞的别墅。这个现在具有传奇色彩的家庭和工作室 -
在作品中如此永生，它可以说是艺术家最着名的住所 -
提供了大型生活空间，毕加索可以用他的画作环绕自己，雕塑和其他财产，也使他能够在同一个可互换的空间生活和工作。在这些华丽的房间里，艺术家挚爱的索奈特弯曲木柳条摇椅成为了地方的骄傲，无数次出现在照片和绘画中
- 特别是艺术家此时正在制作的工作室场景 -
加利福尼亚，并作为杰奎琳在当前工作中所倾向的对象。“杰奎琳有时会反映毕加索坐在他最喜欢的世纪之交摇滚乐手中。他有两个'，这位艺术家的摄影师和朋友大卫·道格拉斯·邓肯(David
Douglas
Duncan)
 巴勃罗·毕加索
《梳头发的女人》是毕加索于1956年1月制作的一系列绘画和绘画的一部分，描绘了杰奎琳的双臂交叉在她的头上（Zervos
XVII，编号2-19,22-32,35）。在几张相关的水墨画中，杰奎琳清楚地显示了她的头发，并且正是这种行为在她目前的工作中似乎正在进行。在画《梳头发的女人》的同一天，毕加索也完成了《坐着的赤裸女人》（Femme
nu accroupie，Zervos
XVII，no.2），在同一个位置展示了一个坐着的裸体，第二天，艺术家创造了大型且具有纪念意义的《洗手间的女人》（Femmes à
la
toilette，藏于巴黎毕加索博物馆），同样继续以当前作品为主题，描绘了两个裸体人物，一个站着，另一个坐着梳理她的头发。这个姿势的迭代范围表明艺术家显然被这个主题所采用。毕加索将他永远存在的缪斯从裸体变为穿衣，从原始到经典，从神话到现代，将自己沉浸在他崇拜情人的描绘中。在整个1956年的剩余时间里，毕加索继续回归杰奎琳的形象，装饰着同样的深绿色连衣裙，就像在现在的工作中一样，沉思地坐在同一把柳条椅子里。富豪和雕像，杰奎琳出现在《梳头发的女人》其余的这些画作是艺术家世界中不可动摇的永恒存在;
在他的生活和艺术中的重要存在。
在毕加索的整个作品中，这个姿势就像一个线程。这位女士安排她的头发的主题在西方艺术中有着悠久而卓越的历史，可以追溯到古典希腊画家阿佩尔斯遗失的杰作，其描绘了从海中升起的女神阿芙罗狄蒂的标志性主题。飘逸的长发。从提香和安格尔，到现代艺术家，他们在一个明确的当代环境中重新塑造了这一姿势，例如Degas，他们俘获了沉浸在这种私密，私密仪式中的女性，以及同样在他们的香水中描绘出性感裸体的雷诺阿，这个主题为艺术家们提供了丰富的刺激，
毕加索也不例外。在他的整个职业生涯中，这个主题一再出现，始于1906年夏天在偏远的西班牙村庄戈索尔与《梳头发的女人》（纽约现代艺术博物馆）和《后宫》（Le
Harem，克利夫兰克利夫兰艺术博物馆）。一年之后，这个同样诱人的立场再一次在艺术家的纪念性开创性作品“ 《亚维农的少女》(Les
Demoiselles d'Avignon
，1907年，纽约现代艺术博物馆）中得到了改变，其中心人物正面，双臂高于她以毫不掩饰，毫不含糊的性能力为首。
坐着的女性肖像的主题也让人联想起当时毕加索头脑中的艺术家：亨利马蒂斯。毕加索曾经宣称：“你必须能够并排拍摄马蒂斯和我当时所做的一切。没有人比我更仔细地看过马蒂斯的画;
没有人比他更仔细地看待我的（毕加索，引自J. Golding，'引言'，在E. Cowling等人，Matisse
Picasso，exh.cat.London，2002，p.13）。作为这位艺术家终生的朋友和最伟大的对手，马蒂斯于1954年11月去世。受灾严重的毕加索没有参加他的葬礼，他的死在很大程度上影响了艺术家未来几年。正如他一生中所做的那样，毕加索通过他的艺术处理了他的悲伤。最着名的是，艺术家伟大的1954-55系列《阿尔及尔女人》，他在马蒂斯去世后仅仅六周开始，不仅向德拉克罗瓦致敬，而且向马蒂斯和他充满异国情调的东方主义幻象致敬，其中包括靠背，装饰性装饰的侍女。“当马蒂斯去世的时候，”毕加索告诉罗兰彭罗斯，“他把我的韵味留给了我作为遗产，这是我对东方的看法，虽然我从未去过那里”（毕加索，引用R.彭罗斯，毕加索：他的生活和工作，Berkeley，1981，p.396）。同样，毕加索随后的20世纪50年代中期的工作室场景也是对这位伟大的法国艺术家晚期系列Vence室内设计的致敬。
在整个马蒂斯的职业生涯中，坐着的女人在富丽堂皇的装饰内饰中的主题为艺术家提供了无尽的灵感。毕加索自己拥有一幅这样的画作：《坐着的女孩》，《波斯连衣裙》，1942年（巴黎毕加索博物馆）。一起考虑，这件作品和《梳头发的女人》相似之处：两位女性主角都被描绘成一种知情，有点诱人，迷人和强大的凝视，他们随意，放松的姿势
- 马蒂斯的身影在一张大皮革支撑的椅子上斜倚，她的肘部搁在她的手臂上她自己 -
散发出令人信服的自信和自信。同样，两位艺术家都将他们的模型翻译成画布，并结合了扁平的颜色和线条。虽然毕加索的单色背景无疑与马蒂斯丰富的绿色室内环境形成鲜明对比，但这些艺术家都使用了模式
- 毕加索在柳条椅的十字形图案中，马蒂斯在背景的装饰叶子图案中 - 来定义视觉空间和框架他们受人尊敬的女性模特。
作品细节
 巴勃罗·毕加索  巴勃罗·毕加索  巴勃罗·毕加索  巴勃罗·毕加索  巴勃罗·毕加索  巴勃罗·毕加索  巴勃罗·毕加索 巴勃罗·毕加索 巴勃罗·毕加索
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。（阴山工作室根据各大博物馆资料编写）
作品资料
Pablo Picasso (1881-1973)
Femme se coiffant
成交总额GBP 6,758,750
估价GBP 2,500,000 - GBP 3,500,000
拍卖 15469
印象派及现代艺术
伦敦|2018年2月27日 浏览拍卖
拍品 9
Pablo Picasso (1881-1973)
Femme se coiffant
signed ‘Picasso’ (lower left); dated and numbered ‘3.1.56. II’
(on the reverse)
oil on canvas
32 x 25 3/4 in. (81.2 x 65.3 cm.)
Painted on 3 January 1956
来源
Galerie Louise Leiris, Paris (no.
07162).
Galeria Maison Bernard, Caracas.
Ruth & Mauricio Kramer, New York; sale, Sotheby’s, New
York, 16 November 1989, lot 348.
Acquired at the above sale; sale Christie’s, New York, 19
November 1998, lot 347.
Private collection, United States, by whom acquired at the
above sale; sale, Christie’s, New York, 2 May 2006, lot
45.
Acquired at the above sale, and thence by descent.
相关文献
C. Zervos, Pablo Picasso, vol. 17, Oeuvres de 1956 à 1957,
Paris, 1966, no. 3, n.p. (illustrated pl. 3).
阴山工作室
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