毕加索《女人头像》（多拉·玛尔，伦敦佳士得2018）

毕加索女人头像（多拉·玛尔） Tête de femme (DoraMaar) 伦敦佳士得2018.2 成交价180.875万英镑

作品介绍

‘In love doesn’t quite sum up Picasso’s feelings towards Dora.I think he was obsessed with her, a passionate sexual love. It wasnot that Dora was so beautiful – she was far more interesting thanthat. She added a whole new class and layer to his othermistresses’

(J. Richardson, quoted in L. Baring, Dora Maar: Paris in theTime of Man Ray, Jean Cocteau, and Picasso, New York, 2017, p.164)

‘After Picasso, God’

(Dora Maar, quoted in L. Baring, Dora Maar: Paris in the Timeof Man Ray, Jean Cocteau, and Picasso, New York, 2017, p.215)

Painted on 5 June 1941, as the Second World War raged acrossEurope, and Paris was occupied by German forces, Tête de femme(Dora Maar) is a striking and intimate portrait of Pablo Picasso’sgreat wartime lover and muse, Dora Maar. The fiercely intellectual,Spanish speaking Surrealist photographer and later painter, Doraserved as the model for some of the most powerful and movingportraits of Picasso’s career. Together the couple lived throughsome of the most turbulent years of the Twentieth Century, theirlove affair bookended by the outbreak of the Spanish Civil War, andthe end of the Second World War. Yet throughout this, theirrelationship served as a source of deep inspiration and impetus fortheir art making and poetry; as Anne Baldassari has written, theirintense artistic dialogue made them ‘an unrivalled artist couple inthe history of the avant-garde, proving one of the most exactingand genuine exchanges in all modern art’ (A. Baldessari, Picasso:Life with Dora Maar: Love and War 1935-1945, Paris, 2006, p. 26).In Picasso’s art, Dora’s image became the site of myriaddistortions, exaggerations and reconfigurations, as the artistradically expanded the possibilities of portraiture. Her facebecame the site for the artist to explore his deepest feelings,conveying his angst and disbelief at the horrific events thatunfolded in his native Spain and the wider world, as well asreflecting moments of the intensely felt joy, love and passion hefelt for his lover.

As if caught turning her head, Tête de femme (Dora Maar)reflects the intimacy and intensity of Picasso and Dora’spassionate, often turbulent relationship. The day that he paintedthe present work, the artist also completed two other oil paintingsof Dora: La femme à la collerette bleue (Zervos 11, no. 150), whichnow resides in the Moderna Museet, Stockholm, and Buste de femme(Zervos 11, no. 194), both of which capture Maar in a blue collaredtop, her powerful gaze evident in each portrait, framed byvoluminous waves of her luxuriant dark hair. The abundance ofportraits from this period reflects not only the intensity of theirrelationship, but also the increasingly secluded life that Picassowas living at this time.

After the Nazi invasion of Paris in 1940, Picasso decided,despite various offers of refuge, to remain in the French capital.Living and working in his cavernous studio on the rue desGrands-Augustins, Picasso immersed himself in his work. Deemed a‘degenerate’ artist by Hitler and purportedly forbidden to exhibithis work in Paris, Picasso lived a much quieter life, removed fromthe pre-war artistic and bourgeois society he had been a part of,and often visited in his studio by Nazi soldiers. Unable to travel,Picasso turned to his immediate surroundings as subject matter,resulting in a proliferation of portraits of Dora Maar and thehauntingly powerful series of still-lifes that he paintedthroughout the war years.

毕加索女人头像（多拉·玛尔） Tête de femme (DoraMaar) 局部

Over the course of their relationship, Picasso became obsessedby Dora Maar’s face, appearance and mannerisms, depicting her in anastounding number of iterations. The pair had first met in Paris atthe end of 1935 or the beginning of 1936, depending on differentaccounts, introduced by their mutual friend, the poet Paul Éluard.This raven-haired beauty proved irresistible to the Spanish artist.Immediately beguiled, he was attracted to her dark intensity,struck by her gaze that was said to be as powerful as his ownnotorious mirada fuerte. More than her looks however, Dora wasindependent, politically engaged, intellectual and deeplyenigmatic, as well as a successful photographer in her own right;and, to the artist’s delight, she also spoke Spanish, replying tohis initial French introduction in his native tongue. ‘In lovedoesn’t quite sum up Picasso’s feelings towards Dora’, the artist’sbiographer John Richardson has recently explained. ‘I think he wasobsessed with her, a passionate sexual love. It was not that Dorawas so beautiful – she was far more interesting than that. Sheadded a whole new class and layer to his other mistresses’ (J.Richardson, quoted in L. Baring, Dora Maar: Paris in the Time ofMan Ray, Jean Cocteau, and Picasso, New York, 2017, p.164).

As he did with each new woman in his life, Picasso firstabsorbed everect of Dora’s face, depicting her in a series ofintimate sketches and drawings before beginning increasingly todistort and rearrange her striking physiognomic features in hisiconic wartime portraits of her. By the time he painted the presentwork, Picasso was oscillating between more naturalistic impressionsof his raven-haired muse and the overtly stylised, contorted anddistorted visions of her. Like a snapshot of her head in motion,perhaps turning towards or away from her lover, here, Dora appearsboth frontally as well as in profile, her highlighted, almostsculpturally rendered jaw line and chin emphasising this sense ofmotion. This double profile characterises the greatest of hisportraits of Dora, a cubist-inspired stylistic trait that hasbecome inseparable from the artist’s means of capturing his sittersof this period. Interestingly, Dora also experimented with doubleprofiles in her photography and photomontages creating works suchas Double Portrait with Hat (circa 1936-37, The Cleveland Museum ofArt, Ohio), that capture a single face from different anglessimultaneously. Indeed, it was Dora’s photography that initiallybrought the couple together, with Picasso agreeing during theirfirst meeting to pose for Dora in her apartment. In the early yearsof their relationship, the couple worked together on a series ofphotographic experiments, with Dora remembering of this period, ‘Weenjoyed ourselves like crazy’ (D. Maar, quoted in ibid., p.168).

Tête de femme (Dora Maar) was first owned by the legendarypatron, collector, and later, designer, Marie Cuttoli, and herpartner Henri Laugier. One of Picasso’s great friends of the late1920s and 30s, Cuttoli, who was one of the leading figures in therevival of modern tapestry weaving, collaborated with him on anumber of textile commissions. Over the course of her life sheamassed a large collection of works by the leading artists of earlyModernism including Braque, Miró, Léger, and of course,Picasso.

毕加索女人头像（多拉·玛尔） Tête de femme (DoraMaar) 局部

ABSTRACTION BEYOND BORDERS: WORKS FROM A DISTINGUISHEDPRIVATE EUROPEAN COLLECTION

From Paris to Munich, Berlin, Milan and Hanover, in theopening decades of the Twentieth Century, a number of artistscreated art that radically differed from those of theirpredecessors. Working across Europe, these pioneering provocateurs,radicals and trailblazers – Georges Braque, Francis Picabia,František Kupka, to name just a few – shunned the last vestiges ofillusionism to instead create unprecedented works with no visible,recognisable or definable subject matter. Liberating colour, lineand form from their centuries-old descriptive role, they overturnedpictorial tradition, embarking on an abstract adventure that wouldcome to define art of the Twentieth Century. Crossing geographicalboundaries, encompassing a variety of media, and often blurringtraditional distinctions of painting and sculpture, abstractionspread with an extraordinary speed, transforming artistic practiceforever.

From the initial steps towards a new artistic language, to theparadigmatic embodiment of this concept, this diverse group ofworks embodies this varied, experimental and groundbreaking path ofabstraction, demonstrating the variety of ways that artists acrossthe globe embraced this radical practice. Braque’s cubistcomposition, Cartes et cornet à dés presents the origin of thismove towards a new, non-representational artistic language. Alongwith Picasso – the pair, ‘like mountain-climbers roped together’,as Braque recalled of this frenzied period of seismic innovation –the artist undermined conventional notions of perspective, openingthe door to a whole new way of depicting theworld.

As rebellious as the cubists’ rejection of the centuries-oldrules of representation, Picabia’s playful collage Sans titre (Potde fleurs) uses the very materials of art making to parody themimetic traditions of art, creating a semi-abstract play of colourand line. Far removed from any trace of the recognisable world,Kurt Schwitters’ rare Merz relief, Das Richard-Freitag-Bild datesfrom the height of his involvement with the InternationalConstructivist movement. It was executed during a period when hewas codifying Merz – the one-man art movement that he created in1919 – into a utopian Constructivist language of form, taking thedeconstruction of Dada and combining it with the aims ofConstructivism. Following the same aesthetic, GeorgesVantongerloo’s perfectly composed De Stijl composition embodies thetenets of geometric abstraction. In addition, Kupka, one of theleading pioneers of non-representational abstraction, isrepresented in this collection with a rare composition entitledSeries C, III, Elevation, a work that marries his elegant abstractidiom with the deeper, spiritual dimension that was often thesource of his abstractions.

By contrast, Magritte, an artist whose unique form ofSurrealism serves as the very antithesis to the development ofnon-representational abstraction, is represented in this group withan important early painting, Les signes du soir. A pictorial trompel’oeil riddle, with this painting Magritte confuses, undermines andquestions the entire nature of representational painting, pavingthe way for the conceptual art that dominated artistic productionof the post-war era.

From the purely formal – Schwitters and Vantongerloo – to thespiritual, mystic or surreal – Kupka, Jawlensky, Magritte andPicasso, this collection, assembled with the eye of an aesthete,encapsulates the multi-faceted nature and pioneering spirit ofmodernist abstraction throughout the Twentieth Century. Theircuriosity, daring eclecticism and pioneering spirit of explorationnearly 100 years ago paved the way for artists and collectorstoday.

毕加索女人头像（多拉·玛尔） Tête de femme (DoraMaar) 局部

参考译文

“在恋爱中并没有完全总结毕加索对多拉的感受。我认为他对她很着迷，是一种充满激情的性爱。多拉并不是那么美丽 - 她比那更有趣。她为其他情妇添加了一个全新的课程和层次。”

（J. Richardson，引自L. Baring，多拉·玛尔：巴黎时间雷，Jean Cocteau和Picasso，纽约，2017年，第164页）

“毕加索之后,上帝”

（Dora Maar，引自L. Baring，多拉·玛尔：巴黎时间雷，Jean Cocteau和Picasso，纽约，2017年，第215页）

《女人头像》（多拉·玛尔）绘于1941年6月5日，第二次世界大战席卷整个欧洲，巴黎被德军占领是巴勃罗·毕加索伟大的战时情人和缪斯女神多拉·玛尔的引人注目和亲密的肖像。作为极具智慧，讲西班牙语的超现实主义摄影师和后来的画家，多拉曾是毕加索职业生涯中一些最强大，最动人的画像的典范。这对夫妇共同经历了二十世纪最动荡的一些年代，他们的爱情事件被西班牙内战的爆发和第二次世界大战的结束所预示。然而在此期间，他们的关系成为他们艺术创作和诗歌的深层灵感和动力的源泉; 正如安娜·巴达萨里（AnneBaldassari 巴黎毕加索博物馆馆长）写的那样，他们激烈的艺术对话使他们成为“前卫史上无与伦比的艺术家夫妇，证明了所有现代艺术中最严格和最真实的交流之一”（A. Baldessari，毕加索：生活与多拉玛尔：爱与战争1935-1945，巴黎，2006年，p.26）。在毕加索的艺术作品中，多拉的形象成为无数歪曲，夸张和重新配置的场所，因为艺术家从根本上扩展了肖像画的可能性。她的脸成了艺术家探索他最深切感受的场所，对他在西班牙和更广阔的世界展现的恐怖事件表达了焦虑和怀疑，并反映了他感受到的强烈的快乐，爱和激情的时刻。为了他的爱人。

好像被抓住了，《女人头像》（多拉·玛尔）反映了毕加索和多拉充满热情，往往是动荡的关系的亲密和强度。在他绘制当前作品的那一天，艺术家还完成了另外两幅多拉的油画：《蓝领女人》（Lafemmeàlacollerette bleue，Zervos 11，no.150），现藏于斯德哥尔摩当代美术馆的《女人像》（Buste de femme，Zervos 11，no.194），两者都以蓝色领口顶部捕捉玛尔，她的每一幅肖像画中都有强烈的凝视，被她华丽的深色头发的波浪所包围。这一时期丰富的肖像不仅反映了他们之间关系的激烈程度，也反映了毕加索此时生活的日益隐蔽的生活。

1940年德国入侵巴黎后，尽管提出了各种避难措施，毕加索决定留在法国首都。毕加索生活和工作在Grands-Augustins大道的洞穴工作室，沉浸在他的工作中。作为希特勒的“堕落”艺术家，据称被禁止在巴黎展出他的作品，毕加索过着更加安静的生活，从他参与过的战前艺术和资产阶级社会中脱离出来，并经常在纳粹的工作室里参观士兵。由于无法旅行，毕加索转向他周围的环境作为主题，导致多拉玛尔的肖像和他在整个战争年代绘制的令人难以忘怀的强大系列静物画的扩散。

在他们的关系过程中，毕加索开始沉迷于多拉玛尔的面孔，外表和举止，以惊人的迭代次数描绘她。这对夫妇于1935年底或1936年初在巴黎首次见面，这取决于他们的共同朋友，诗人保罗Éluard所介绍的不同说法。这种乌黑的头发美女被西班牙艺术家证明是不可抗拒的。他立即受到诱惑，被她的黑暗强度所吸引，被她的目光所震撼，据说这种目光与他自己臭名昭着的强烈凝视一样强大。然而，不仅仅是她的外表，多拉独立，政治参与，知识分子和深刻的神秘，以及她自己的成功摄影师; 而且，为了艺术家的喜悦，她还讲西班牙语，用他的母语回答他最初的法语介绍。这位艺术家的传记作者约翰理查森最近解释说，“恋爱并不完全总结毕加索对多拉的感受”。“我认为他沉迷于她，充满激情的性爱。多拉并不是那么美丽 - 她比那更有趣。她为其他情妇添加了一个全新的课程和层次（J. Richardson，引自L. Baring，多拉·玛尔：巴黎时间雷，Jean Cocteau和Picasso，纽约，2017年，第164页）。

正如他对生命中每个新女性所做的那样，毕加索首先吸收了多拉脸上的每一个方面，在一系列亲密的草图和绘画中描绘了她，然后开始越来越多地扭曲和重新排列她在她标志性的战时肖像画中的惊人的地貌特征。当他描绘当前的作品时，毕加索在他对乌黑的缪斯缪斯的自然主义印象与她明显的程式化，扭曲和扭曲的幻想之间摇摆不定。就像她的头部运动的快照，也许转向或远离她的情人，在这里，多拉·玛尔既有正面也有剖面，她的突出显示，几乎是雕塑般的下颌线和下巴强调这种运动感。这张双重身影描绘了他最伟大的多拉肖像，一种立体派风格的风格特征，与艺术家捕捉这一时期的保持者的手段密不可分。有趣的是，多拉还在她的摄影和照片蒙太奇中尝试了双重轮廓，创作了诸如此类的作品戴着帽子的双人肖像（约 1936-37，俄亥俄州克利夫兰艺术博物馆），同时从不同的角度捕捉单个面部。事实上，多拉的摄影最初将这对夫妇聚集在一起，毕加索在第一次见面时同意在她的公寓里为多拉摆姿势。在他们关系的早期，这对夫妇一起进行了一系列的摄影实验，多拉记得这个时期，“我们喜欢疯狂”（D. Maar，同上，引用，第 168页）。

《女人头像》（多拉·玛尔）首先由传奇的赞助人，收藏家，后来的设计师Marie Cuttoli和她的搭档Henri Laugier拥有。作为毕加索20世纪20年代末30年代的伟大朋友之一，Cuttoli是现代织锦编织复兴的领军人物之一，他与他合作了许多纺织品委员会。在她的一生中，她收集了早期现代主义艺术家的大量作品，包括乔治·布拉克，胡安·米罗，Léger，当然还有毕加索。

毕加索女人头像（多拉·玛尔） Tête de femme (DoraMaar) 局部

超越边界的抽象：来自一个独特的私人欧洲系列作品

从巴黎到慕尼黑，柏林，米兰和汉诺威，在二十世纪的开放十年中，许多艺术家创作的艺术与他们的前辈完全不同。在欧洲各地工作，这些开拓性的挑衅者，激进派和开拓者- 乔治·布拉克，弗朗西斯·皮卡比亚，弗朗西谢克·库普卡，仅举几例 -避开了幻觉的最后痕迹，反而创造了前所未有的作品，没有明显的，可识别的或可定义的主题。从他们数百年的描述性角色中解放出色彩，线条和形式，他们颠覆了图像传统，开始了一场抽象的冒险，将来定义二十世纪的艺术。跨越地理界限，包含各种媒体，并经常模糊绘画和雕塑的传统区别，

从最初的步骤到新的艺术语言，再到这个概念的典范体现，这一多元化的作品体现了这种多样化，实验性和开创性的抽象路径，展示了全球艺术家采用这种激进实践的各种方式。布拉克的立体主义作品，Cartesetcornetàdés展示了这种朝着一种新的，非代表性的艺术语言迈进的起源。与毕加索一样，这对“就像登山者一样”，正如布拉克回忆起这个疯狂的地震创新时期- 这位艺术家破坏了传统的观点概念，打开了通向一种描绘世界的全新方式的大门。

像立体主义者拒绝几百年来的代表性规则一样叛逆，弗朗西斯·皮卡比亚(FrancisPicabia）的俏皮拼贴画《无题》（花盆）使用艺术制作的材料来模仿艺术的模仿传统，创造出一种半抽象的色彩和线。库尔特·施威特斯（KurtSchwitters，1887–1948年）罕见的梅尔兹救济，《理查德周五的照片》远离任何可识别世界的痕迹可以追溯到他参与国际建构主义运动的高峰期。它是在他将梅尔兹--他在1919年创造的一人艺术运动-编纂成乌托邦式的建构主义语言形式，将Dada解构并将其与建构主义的目标相结合的时期执行的。遵循相同的美学，万顿吉罗完美组合的德斯太尔抽象画派构图体现了几何抽象的原则。此外，弗朗齐歇克·库普卡是非代表性抽象的主要先驱之一，在这个系列中有一个罕见的作品，名为系列C，III，海拔，这是一部将他优雅的抽象成语与更深层次的JINGSHEN维度相结合的作品。他抽象的来源。

相比之下，马格利特是一位艺术家，其超现实主义的独特形式与非代表性抽象的发展截然相反，在这一组中有一个重要的早期绘画，《晚上的迹象》。具有一个图形错视画谜，用这幅画马格利特混淆，损害和问题的写实主义油画的整个本质，铺平了观念艺术，主导艺术生产的战后时代的方式。

从纯粹正式的 - 施维特和万顿吉罗- 到JINGSHEN，神秘或超现实主义- 卡库卡，雅弗林斯基，马格里特和巴勃罗·毕加索，这个系列以美学家的眼光组装，将整个现代主义抽象的多面性和开拓JINGSHEN融为一体。二十世纪。近100年前，他们的好奇心，大胆的折衷主义和开拓性的探索JINGSHEN为今天的艺术家和收藏家铺平了道路。

作品细节

毕加索女人头像（多拉·玛尔） Tête de femme(Dora Maar) 局部

毕加索女人头像（多拉·玛尔） Tête de femme (DoraMaar) 局部

画家简介

巴勃罗·毕加索（PabloPicasso，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

Pablo Picasso (1881-1973)

Tête de femme (Dora Maar)

成交总额GBP 1,808,750

估价GBP 1,800,000 - GBP 2,500,000

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 15

Pablo Picasso (1881-1973)

Tête de femme (Dora Maar)

signed 'Picasso' (on the reverse); dated '5.juin 41' (on thestretcher)

oil on canvas

16 1/4 x 13 1/8 in. (41 x 33.2 cm.)

Painted in Paris on 5 June 1941

来源

Marie Cuttoli & Henri Laugier, by 1955 until at least1966.

Galería Theo, Madrid (no. 378).

Galerie Gmurzynska, Cologne.

Acquired from the above by the present owner in 1996.

展览历史

Paris, Galerie Max Kaganovitch, 1951.

Paris, Galerie Max Kaganovitch, Dessins, Aquarelles, Tableaux,Sculptures des XIX et XX siècles, May - June 1966, no. 77,n.p.

Paris, Grand Palais, Hommage à Pablo Picasso, November 1966 -February 1967, no. 193 (illustrated n.p.)

Cologne, Galerie Gmurzynska, Pablo Picasso: Don HilarioCuernajón, April - July 1996, pp. 38-39 (illustrated p. 37 &illustrated in situ, n.p.).

Basel, Kunstmuseum Basel, Die Picassos sind da! EineRetrospecktive aus Basler Sammlungen, March - July 2013, no. 71, p.154 (illustrated p. 150).