巴勃罗·毕加索《静物与郁金香》（NATURE MORTE AUX TULIPES，纽约苏富比2012）

阴山工作室 2018-09-04

展开全文

巴勃罗·毕加索静物与郁金香 NATURE MORTE AUX TULIPES 纽约苏富比2012.11 成交价4152.25万美元

作品介绍

The extraordinary Nature morte aux tulipes is one of the celebrated 'Marie-Thérèse pictures' that would ultimately establish Picasso as the most famous artist in the world. Painted in 1932, the year that is recognized as the pinnacle of Picasso's near-century long production, this magnificent painting evidences the creative explosion that defines the renderings of his incomparable golden muse, Marie-Thérèse Walter. Nature morte aux tulipes provides us with a synthesis of the two main media (painting and sculpture) that Picasso utilized to represent the scale, dimensionality and physical impact of his young lover. More than many of the pictures from this era, it evidences his desire to objectify his model in the truest sense of the word. "Picasso pursued, embellished, transformed, deconstructed, and annexed Marie-Thérèse, as a wild beast its prey," says the artist's grand-daughter Diana Widmaier Picasso (D.W. Picasso, Picasso & Marie-Thérèse, L'Amour fou (exhibition catalogue), Gagosian Gallery, New York, 2011, p. 61). This grand picture, completed in the span of less than three hours on a single day in March, is one of the most powerful examples of Picasso’s tireless pursuit, with Marie-Thérèse's image transformed into a divine object of veneration.

As a singular composition, Nature morte aux tulipes appears to be a vibrantly colorful ode to classicism: a plaster bust positioned alongside an offering of tulips and adorned with a garland crown. But there is much more to this picture than meets the eye, as it is the story behind the canvas that adds another powerful dimension. What we see here is the unmistakable profile of Marie-Thérèse Walter, bathed in the warm glow of a kerosene lamp that hung in his Boisgeloup studio. In prior years he had only referenced his extramarital affair with Marie-Thérèse in his pictures in code, sometimes imbedding her initials in a composition or rendering her strong, Grecian profile as a feature of the background. By the end of the year, Picasso could no longer repress his creative impulse with regard to Marie-Thérèse, and she became the primary focus of art.

Throughout 1931 Picasso had been working on several monumental plaster busts that incorporated the strong profile of Marie-Thérèse. While molding wet plaster into the likeness of his lover offered Picasso a way to caress her in absentia, it also allowed him to transform her body into a fully-exploitable object. These bright white forms, gleaming amidst the darkness of his Boisgeloup carriage house, were an irresistible spectacle, inciting Picasso’s Cubist fascination with the dimensionality of form in space. By the end of 1931 he began to feature images of his plaster sculptures into his paintings, and it is Marie-Thérèse’s highly tactile and plasticized form that defines these magisterial paintings of 1932 (figs. 1, 4 & 5).

Elizabeth Cowling has written on Picasso’s incorporation of sculptural imagery into his paintings of this era: "Here, as in many paintings, drawings and prints of the Marie-Thérèse period, Picasso reflects on the relationship in his work between paintings ... and sculpture... The style of the painting as a whole seems intended to dramatise the oppositions between pictorial flatness and sculptural mass in the oppositions between pure line and bold areas of color on the one hand and gradations of light and dark on the other. The sculpted head is a synoptic reference to the earlier series of plaster heads inspired by Marie-Thérèse. The same head, raised on a tall plinth and sometimes garlanded with vines, in a object of veneration in several of the etchings in the 'Vollard Suite'" (E. Cowling in Picasso: Sculptor/Painter (exhibition catalogue), Tate Gallery, London, 1994, p. 272).

Although it is believed that the bust depicted in the present composition was not painted from a specific one in his studio, certain elements featured in the composition can be seen in photographs from the time (fig. 1), including the garland that is draped over the head and the dark shadows cast against the wall from the artificial light source. Some objects are symbolic embellishments, such as the lapis-blue cloth and blooming tulips that evoke the iconography of the Blessed Virgin. Others, like the basket, are recycled from past compositions. A similar arched, woven basket had appeared in an earlier charcoal composition from September 1931, where it featured as a signifier for Marie-Thérèse. In that earlier picture, the basket was positioned alongside a stark porcelain vessel -- the same minimalist one that was used to signify Picasso’s wife Olga in Still with Jug and Apples of 1920 (fig. 3).

巴勃罗·毕加索静物与郁金香 NATURE MORTE AUX TULIPES 局部

John Golding has written about the studio environment in which this painting was depicted, and how it "evokes [Picasso's] nocturnal working habits, and the light shed by the big kerosene lamp made him particularly sensitive to the play of shadows over the white plaster sculptures. He tended to distrust the official heaviness of bronze and declared that the Boisgeloup plaster heads in particular were more beautiful in their original white or plaster state. While the studios were being got ready Picasso executed a series of small slender standing figures whittled out of single pieces of wood, and the respect for material that these required may have encouraged him to concentrate on more closed, self-contained sculptural forms." (J.Golding in Picasso:

Sculptor/Painter (exhibition catalogue), Tate Gallery, London, 1994, p. 28).

Picasso’s theme for his picture is drawn from a more literary source. Not long after his fiftieth birthday that past October, he began a series of Ovidian etchings to celebrate a new publication of the Metamorphosis and would ultimately create a body of work over the years know collectively as the Vollard Suites (fig. 6). The present work is one of several canvases that alludes to Ovid’s writings, specifically the harrowing story of Persephone’s abduction by Pluto to Hades:

Playing, gathering flowers

Violets, or white lilies, and so many

The basket would not hold them all…

Sorrowful to be sure, and still half frightened

And still a queen, the greatest of the world

Of darkness and empress, the proud consort

Of the proud ruler of the world of darkness

Jean Sutherland Boggs made the following association between the Persephone myth and the present picture in her research for the Picasso and Things exhibition held at the Museum of Modern Art. She writes in the catalogue entry for this picture, “It is as the goddess returned to the earth in the spring that we find her here, the wreath in her hair, the basket of tulips and three pieces of fruit before her pedestal indicating the season with which she is identified. Although she is placed on a blue cloth of royal intensity and assurance, the background has mysterious black shadows against the dark brown, and there is a pattern of a delicate gray on the bust itself, perhaps to remind us of the shadows of the underworld” (Picasso and Things, op. cit., p. 237).

Nature morte aux tulipes is one of the legendary pictures completed in anticipation of the major retrospective that Picasso was planning that summer in Paris and Zurich. It was at this exhibition 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 (fig. 8). Until the exhibition, Picasso's relationship with Marie-Thérèse had been a tightly guarded secret, 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 house, 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 inspired the present picture. Nature morte aux tulipes evidences Marie-Thérèse's role as a completely accessible aesthetic resource for Picasso's art. Like the myth of Pygmalion and Galatea, Picasso would take his sculpture off its pedestal and brought his muse to life.

图1

Pablo Picasso，Buste，compotier et palette，1932年3月3日，布面油画，MuséePicasso，巴黎

图2

毕加索的工作室，由AE Gallatin拍摄，1933年

图3

Pablo Picasso，Nature morte au pichet et pommes，大约1920年，布面油画，MuséePicasso，巴黎

图4

Pablo Picasso，La Lecture，1932年，布面油画，销售：苏富比拍卖行，伦敦，2011年2月8日，拍品8，4060万美元

图5

Pablo Picasso，Femme nue，feuilles et buste，1932，布面油画，私人收藏

图6

Pablo Picasso插图来自“雕塑家的寓言”，转载于Minotaure，第一卷，原始问题1-4,1933

图7

Pablo Picasso，Marie- Thérèseàvingt -et-un ans，1928-29，blacklead on Chinese paper，©Archives Maya Widmaier Picasso

图8

1932年在巴黎Galerie Georges Petit观看现在的照片

参考译文

非凡的《静物与郁金香》是著名的“玛丽·特雷莎作品”系列之一，最终将毕加索成为世界上最著名的艺术家。这幅宏伟的画作于1932年绘制，被认为是毕加索近两个世纪长期制作的巅峰之作，它证明了创造性的爆炸，定义了他无与伦比的金色缪斯玛丽·特雷莎·沃尔特的渲染。《静物与郁金香》为我们提供了毕加索用来代表他年轻情人的规模，维度和身体影响的两种主要媒体（绘画和雕塑）的综合。它不仅仅是这个时代的许多图片，而且证明了他希望在最真实的意义上使他的模型客观化。“毕加索追求，装饰，改造，解构，并吞并玛丽 - 泰瑞斯作为野兽的猎物，”艺术家的孙女戴安娜·威德迈尔毕加索（毕加索毕加索，毕加索和玛丽 - 泰瑞斯，L'Amour fou）说道。（展览目录），高古轩画廊，纽约，2011年，p。61）。这幅宏伟的画面在三月的一天中完成，不到三个小时，是毕加索不懈追求的最有力的例子之一，玛丽 - 泰瑞斯的形象转变为神圣的崇拜对象。

作为一个奇异的组成，《静物与郁金香》对于古典主义来说，它似乎是一种充满活力的颂歌：石膏胸围与郁金香一起摆放，并饰有花环冠。但是这张照片远远超出了眼睛，因为画布背后的故事增添了另一个强大的维度。我们在这里看到的是玛丽-特雷莎·沃尔特的明显特征，沐浴在布瓦杰鲁工作室里挂着的煤油灯的温暖光芒中。在过去的几年里，他只是在代码中用玛丽·特雷莎引用他的婚外恋，有时将她的首字母嵌入作品中，或者将她强烈的希腊文字作为背景的一个特征。到今年年底，毕加索再也无法抑制他对玛丽·特雷莎的创作冲动，并成为艺术的主要焦点。

整个1931年，毕加索一直在研究几个巨大的石膏半身像，其中融入了玛丽·特雷莎的强烈形象。虽然将湿石膏模塑成他的情人的样子，但毕加索提供了一种在缺席时爱抚她的方法，但这也让他将自己的身体变成了一个完全可利用的物体。这些明亮的白色形状，在他的布瓦杰鲁马车房的黑暗中闪闪发光，是一个不可抗拒的景象，煽动毕加索的立体主义对空间形式的维度的迷恋。到1931年底，他开始在他的画作中展示他的石膏雕塑图像，这是玛丽·特雷莎高度触觉和塑化的形式，定义了1932年的这些权威绘画（图1,4和5）。

伊丽莎白·考林写过毕加索将雕塑意象融入他这个时代的画作中：“在这里，正如在玛丽 - 泰瑞时期的许多绘画，素描和版画中，毕加索反映了他在绘画作品与雕塑之间的关系。 ......作为一个整体的绘画风格似乎旨在戏剧化图形平面和雕塑质量之间的对立，一方面是纯粹的线条和大胆的颜色区域之间的对立，另一方面是明暗的渐变。头像是由玛丽·特雷莎灵感启发的早期系列石膏头的天然参考。同样的头部，高高的底座上，有时用藤蔓装饰，在'Vollard Suite'中的几个蚀刻中受到尊敬。（E. Cowling in Picasso：雕塑家/画家（展览目录），泰特美术馆，伦敦，1994年，p。272）。

尽管人们认为本作品中描绘的半身像并非在他的工作室中以特定的方式绘制，但是从时间上可以看到构图中的某些元素（图1），包括覆盖的花环。头部和黑暗的阴影从人造光源投射到墙壁上。有些物品是象征性的装饰，例如青金石布和盛开的郁金香，唤起了圣母的图像。其他人，如篮子，从过去的成分中回收。从1931年9月起，一种类似的拱形编织篮子出现在早期的木炭组合中，在那里它作为玛丽·特雷莎的标志。在之前的图片中，仍然使用 1920年的Jug和苹果（图3）。

巴勃罗·毕加索静物与郁金香 NATURE MORTE AUX TULIPES 展厅

约翰·戈尔丁撰写了关于这幅画被描绘的工作室环境的文章，以及它如何“唤起[毕加索]的夜间工作习惯，以及大煤油灯所散发的光线使他对白色石膏雕塑上的阴影发挥特别敏感他倾向于不信任官方的青铜沉重，并宣称特别是布瓦杰鲁石膏头在其原始的白色或石膏状态下更加美丽。当工作室准备就绪时，毕加索处理了一系列细长的身材瘦削的单身人物。木片，以及对这些所需材料的尊重可能促使他专注于更封闭，独立的雕塑形式。“ （J.Golding in Picasso：Sculptor / Painter （展览目录），泰特美术馆，伦敦，1994年，p。28）。

毕加索对他的照片的主题来自更多的文学来源。在他去年十月的五十岁生日后不久，他开始了一系列的奥维多蚀刻版画，以庆祝变形记录的新出版物，并最终创造了多年来的作品，共同称为Vollard Suites（图6）。目前的作品是暗示Ovid的着作的几幅画作之一，特别是Persephone被冥王星绑架到Hades的悲惨故事：

玩耍，收集鲜花

紫罗兰，或白百合，以及许多

篮子不会容纳所有...

悲伤的确定，仍然是一半的恐惧

仍然是一个女王，世界上最伟大的

黑暗和皇后，骄傲

的配合骄傲的黑暗世界的统治者

让·萨瑟兰·博格斯（Jean Sutherland Boggs）在现代艺术博物馆举办的毕加索和事物展览研究中，将珀尔塞福涅神话与现在的照片联系起来。她在这张照片的目录条目中写道，“正如女神在春天回到地球，我们在这里找到她，她的头发中的花环，郁金香和三片水果在她的基座前指示季节她被确定了。虽然她被置于皇家强度和保证的蓝色布料上，但背景上有深褐色的神秘黑色阴影，胸部本身有一种微妙的灰色图案，或许可以提醒我们黑社会的阴影“ （Picasso and Things，op.cit。，p.237）。

《静物与郁金香》是预期毕加索计划在巴黎和苏黎世举办夏季的重大回顾活动而完成的传奇故事之一。正是在这次展览中，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，被警告了她丈夫生活中另一位女性的存在（图8）。在展览开始之前，毕加索与玛丽·特雷莎的关系一直是一个严密保密的秘密，他在布瓦杰鲁维护的工作室密切关注他的证据。他于1930年在日索尔附近购买了这座房产，作为一个休养所，在那里他可以逃离奥尔加并独自与情人共度时光。布瓦杰鲁城堡比他在巴黎的工作室大得多，《静物与郁金香》证明了玛丽·特雷莎作为毕加索艺术完全无法获得的美学资源的作用。就像皮格马利翁和加拉蒂亚的神话一样，毕加索会把他的雕塑从它的基座上移开，并将他的缪斯带到生活中。

作品细节

巴勃罗·毕加索静物与郁金香 NATURE MORTE AUX TULIPES 局部

巴勃罗·毕加索静物与郁金香 NATURE MORTE AUX TULIPES 局部

巴勃罗·毕加索静物与郁金香 NATURE MORTE AUX TULIPES 局部

巴勃罗·毕加索静物与郁金香 NATURE MORTE AUX TULIPES 局部

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。（阴山工作室编写）

作品资料

重要私人收藏

巴布羅·畢加索

《靜物與鬱金香》

估價 35,000,000 — 50,000,000 美元

成交價 (含買家佣金) 41,522,500 美元

印象派及現代藝術晚拍

2012年11月8日 | 下午 7:00 EST

紐約

款識：畫家簽名Picasso並紀年XXXII（右上）；紀年Mars XXXII H 9 à 11 1/2 Hs（內框）

油畫畫布

51 1/8 x 38 3/4英寸

130 x 97公分

作於1932年3月2日

来源

Galerie Paul Rosenberg, Paris

Albert Bellanger, Paris

Paul Rosenberg & Co., New York (acquired from the above on October 5, 1956)

Private Collection, Europe (acquired from the above on April 26, 1957 and sold: Christie's, New York, May 9, 2000, lot 520)

Private Collection (acquired at the above sale)

Acquavella Galleries, New York

Acquired from the above

展览历史

Paris, Galerie Georges Petit and Zurich, Kunsthaus, Picasso, 1932, no. 216

Hartford, Wadsworth Atheneum, Picasso, 1934, no. 72

New York, The Museum of Modern Art, Picasso: 40 Years of his Art, 1939-40, no. 243

Antibes, Musée Picasso, Château Grimaldi, Picasso tête à tête: La parabole du sculpteur, 1984, no. 16, illustrated in the catalogue

Geneva, Musée Rath and Musée d’Art Moderne de la Ville de Paris, Regards sur un minotaur, 1987-88, no. 212, illustrated in the catalogue

The Cleveland Museum of Art; The Philadelphia Museum of Art & Paris, Galeries Nationales du Grand Palais, Picasso and Things, 1992, no. 94, illustrated in color in the catalogue

Avignon, Palais des Papes, Picasso au Palais des Papes, 1995, illustrated in color in the catalogue

Fundaçio Bienal de São Paolo, 23.Bienal Internacionale, Salas Especials, Pablo Picasso, 1996, no. 27

New York, Acquavella Gallery, Picasso's Marie-Thérèse, 2008, no. 11, illustrated in color in the catalogue