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Picasso and the Progressive Proof: Linocut Prints from a Private Collection

pique 9

Pablo Picasso 
Spanish, 1881-1973 

Pique II [Pike II], 1959 
Linocut on Arches paper 
Numbered “43/50” and signed lower right “Picasso” 

https://picrod.s3.us-east-2.amazonaws.com/Pique+II.mp3

 

Visual Description

This is a linocut print, measuring almost one foot tall and a foot and a half wide. On the right side of the image is a large black bull, its body rounded and outlined in a dark sand color. On the left side of the paper is a man riding a horse, their bodies abstracted and exaggerated. The horse is primarily chestnut brown in color with black hind legs, hooves, and band across its eyes. Dark sand-colored lines and half-circles cut across the horse’s midsection and down its front legs. The man is primarily black in color and has hulking shoulders with sections of black and chestnut brown that are decorated with small, dark sand-colored flecks. The man holds the horse’s reins in one hand and a long lance in the other, aimed at the bull. The horse rears up as the bull charges towards its exposed midsection.

In its first state, the print features a medium brown-colored rectangle that fills the majority of the paper. As the printing process progresses, the figures fill the rectangle and greater detail is added. Various earlier states feature the image in the following color combinations: golden brown and beige; golden brown and light brown; dark brown and milky brown; terracotta brown and light brown; chocolate brown and caramel brown; chocolate brown, terracotta brown, and caramel brown; and dark brown, milky brown, and caramel brown. 

 

Extended Label Text 

The preceding eight progressive proofs were among those pulled to arrive at this final, finished print published by the Galerie Louise Leiris. Picasso imposes a final state of black to pull together or “register” the entire composition. In the preceding three proofs, the primary block was printed in chocolate brown ink, and in its second and final state, some of those areas were carved away to provide the finished defining sections of black ink. 

 

—————————————————————————————————————————————————————————-

 

Pablo Picasso 
Español, 1881-1973  

Pique II [Pica II], 1959 
Linograbado sobre papel Arches 
Numerado “43/50” y firmado abajo a la derecha “Picasso” 

 

Descripción Visual

Esta es una impresión en linograbado, que mide casi un pie de alto y un pie y medio de ancho. En el lado derecho de la imagen hay un gran toro negro, su cuerpo redondeado y delineado en un color arena oscuro. En el lado izquierdo del papel hay un hombre montado en un caballo, sus cuerpos abstractos y exagerados. El caballo es principalmente de color marrón castaño con patas traseras negras, cascos y una banda negra sobre sus ojos. Líneas y semicírculos de color arena oscuro atraviesan la sección media del caballo y bajan por sus patas delanteras. El hombre es principalmente de color negro y tiene hombros robustos con secciones de negro y marrón castaño decoradas con pequeñas motas de color arena oscuro. El hombre sostiene las riendas del caballo en una mano y una larga lanza en la otra, apuntando al toro. El caballo se encabrita mientras el toro embiste hacia su sección media expuesta.

En su primer estado, la impresión presenta un rectángulo de color marrón medio que llena la mayor parte del papel. A medida que avanza el proceso de impresión, las figuras llenan el rectángulo y se añaden más detalles. Varios estados anteriores presentan la imagen en las siguientes combinaciones de colores: marrón dorado y beige; marrón dorado y marrón claro; marrón oscuro y marrón lechoso; marrón terracota y marrón claro; marrón chocolate y marrón caramelo; marrón chocolate, marrón terracota y marrón caramelo; y marrón oscuro, marrón lechoso y marrón caramelo. 

 

Texto de Etiqueta Ampliado

Las ocho pruebas progresivas anteriores se encuentran entre las que se utilizaron para llegar a esta impresión final publicada por la Galerie Louise Leiris. Picasso impone un estado final de negro para unir o “registrar” toda la composición. En las tres pruebas anteriores, el bloque principal se imprimió en tinta marrón chocolate, y en su segundo y último estado, algunas de esas áreas fueron talladas para proporcionar las secciones definitorias terminadas en tinta negra. 

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