Galerie Louise Leiris, Paris
Vente : Sotheby's, Londres, 30 mars 1966, lot 71
Acquis lors de cette vente par la famille du propriétaire actuel

Paris, Galerie Louise Leiris, Picasso, Dessins 1959-60, 1960, no. 45

Jaime Sabartes, Picasso : Toreros, Monte Carlo, 1961, p. 50
Christian Zervos, Pablo Picasso, de 1959 à 1961, vol. XIX, Paris, 1968, no. 297, reproduit p. 94

Executed on thick white wove paper, not laid down. The sheet is floating in the mount. The sheet is hinged to the mount in various places. The edges of the sheet are deckled. Apart from a small spot in the upper left quadrant, probably inherent to the paper, and some time staining, this work is in excellent condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

signed 'Picasso' and dated '1.6.60' (upper left), ink on paper. Executed in 1960.

Fig. 1  Victorio Valencia brindant son taureau à Picasso

"Ce que je voudrais, dit Picasso, c'est faire une corrida comme elle est [...] Je voudrais la faire comme je la vois [...] Je voudrais la faire avec tout [...]. Il faudrait une toile grande comme les arènes [...]. C'est épouvantable de ne pas pouvoir le faire. Ce serait magnifique [...] cette toile, ça fait longtemps que j'y pense et rien me dit qu'un jour je ne trouverai pas le moyen de la faire"(Hélène Parmelin, Picasso dit, Paris 1966, pp. 49-50). La corrida est un thème essentiel et permanent de l'œuvre de Picasso qu'il renouve෴lle avec frénésie jusque dans sa maturité. Tout au long de sa carrière, fervent adepte de ce spectacle d'une grâce sensuelle et féroce, Picasso reprend ce thème de façon obsessionnelle et l'explore de manière évolutive.

 

Image après image défilent ainsi tous les aspects du spectacle empreint d'intensité tragique. Jean-Claude Lambert commente ainsi : " Elles sont, chaque fois, ces faenas, ces passes, un défi renouvelé à la lumière; et Picasso atteint la vitesse-limite du dessin. D'un conflit de forces, d'une explosion comme la charge du taureau contre le picador et sa monture, ou encore comme l'imprévisible cogida, quand l'homme est happé par la bête, soulevant une houle angoissée de murmures, Picasso fait une page de calligrammes, parcelles d'une violence saisie en son paroxysme, mais nullement arrêtée. Le noir de Picasso est plus rapide que le rouge des muletas. On dirait même qu'il le précède. / Semblable au torero qui pointe haut ses banderilles, Picasso va droit à l'essentiel. Immédiatement" (Jean-Claude Lambert, Picasso : Dessins de Tauromachie 1917-1960 (catalogue d'exposition), Paris, 1960).

 

"What I would like," Picasso said, "is to paint a bullfight as it is [...] I would like to paint it as I see it [...] I would like to paint everything [...] I would need a canvas as large as the arenas [...].  It is a shame that I cannot do this. It would be magnificent [...] this canvas, I have been thinking of it for a long time and there is nothing preventing me from some day finding the means to do it" (Hélène Parmelin, Picasso dit, Paris 1966, pp. 49-50). The bullfight, or corrida, is an essential and permanen🤡t theme in Picasso's oeuvre t𒈔o which he enthusiastically returned even in his later years. Throughout his career, a fervent fan of this sensually graceful, powerful spectacle, Picasso returned to the theme and obsessively explored and developed it.

 

Image after image illustrates every aspect of the spectacle and infuses them with a tragic intensity.  As Jean-Claude Lambert comments: "They are, each time, these faenas, these moves, a new challenge of light; and Picasso achieves the speed-limit for drawing.  From a conflict of forces, from an explosion like the charge of a bull against the picador and his steed, or the unpredictable cogida, when the man is snatched up by the animal, raising an anguished swell of protest, Picasso creates a page of calligrams, little snippets of violence captured in its paroxysm, but by no means abated.  Picasso's black is swifter than the red of the muletas.  One could even say that it precedes it.  Like a torero raising his banderillas aloft, Picasso goes straight to the essential.  Immediately" (Jean-Claude Lambert, Picasso : Dessins de Tauromachie 1917-1960 (catalogue d'exposition), Paris, 1960).