丹尼爾-亨利•康懐勒爾，巴黎
露易絲•雷希斯畫廊，巴黎
漢斯•貝格胡安，巴黎
傑克•林頓，紐約
休維勒爾個人收藏，紐約
諾曼•格蘭茲，紐約
賈斯汀•K•坦豪斯爾，紐約（於1978年前購得）
賈斯汀•K•坦豪斯爾夫人遺產，瑞士伯恩

「賈斯汀•K•坦豪斯爾收藏」，瑞士伯恩，藝術博物館 ，1978年，第52頁，圖錄附圖版
「現代藝術之傑作」，紐約，古根海姆博物館，1965年，無頁次（稱《靜物》）

克里斯汀•左弗斯，《巴布羅•畢加索1953 -1955年作品》，第6冊，巴黎，1964年，品號248，圖版頁77
畢加索計畫 [編]，《畢加索的繪畫、水彩、素描與雕塑，五十年代，I，1950-1955》，三藩市， 2000年， 品號54-142

The work is in excellent condition. Original canvas. Surface is slightly dirty. Under UV light no inpainting is apparent.
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Throughout the 1940s and 50s Picasso returned recurrently to the genre of still-life, first when he was confined to his Parisian studio during the war years, and later, when he was living in domestic comfort in Vallauris with his companion Françoise Gilot and subsequently, with his newfound love Jacqueline Roque. In these latter pictures, including La Citronade, the a💯rtist applies the same linear emphasis and graphic quality that he uses in his portraits of Gilot and Jacqueline (fig. 1).

Painted in February 1954, shortly after Françoise Gilot had left him, the present work belongs to a period of transition when Picasso was uncertain about his future with new love Jacqueline Roque and still emotionally involved with Françoise. This sense of emotional uncertainty is reflected in La Citronade with its pictorial language of flattened picture planes and dual perspectives. Marie-Laure Bernadac observed that the events in Picasso's private life had significant bearing on his art, and all of the elements in his paintings, including still-lifes, have an autobiographical significance. "Indeed under each pot, bowl of fruit, or guitar, there lurks a story, a person, or anecdote that is part of the painter's life. Because of the autobiographical nature of his art, and because he assigned an equal value to the animal, mineral, plant, and human realms, he painted whatever was around him" (M.-L. Bernadac, "Painting from the Guts: Food in Picasso's Writings", in Picasso and Things (exhibition catalogue), The Museum of Modern Art, New York, 1992, p. 22). Referring to the still-lifes of this period, the artist himself proclaimed: "I want to tell something by means of the most common object, for example a casserole, any old casserole the one everybody knows. For me it is a vessel in the metaphorical sense, just like Christ's use of parables" (quoted in Françoise Gilot, Life with Picasso, New York, 1964, p. 74).  

With its painterly qualities and patterned wallpaper, the present work also demonstrates Picasso's great admiration for the work of his rival, Henri Matisse (fig. 2). In a fascinating survey of the relationship between Picasso and Matisse, Yves-Alain Bois noted that, "For half a century, his debate with Matisse had been a structuring force" (Matisse and Picasso (exhibition catalogue), Kimbell Art Museum, Fort Worth, Texas, 1999, p. 231). Towards the end of Matisse's life, Picasso made statements and painted canvases that show his deep understanding of Matisse's aesthetic, so different from his own. Referring to a series of still-lifes dating from the spring of 1945, for example, Bois quotes Picasso as saying: " 'I push them less and less... If I go beyond a certain stage, it would no longer be what it is. I would lose in spontaneity what I might gain in solidity. I use less and less color, and allow the virgin canvas to play its part more and more.' No utterance could be more Matissean" (ibid., p. 179).

Frances Morris wrote about the symbolism of Picasso's still-lifes: "Above all it was the still-life genre that Picasso developed into a tool capable of evoking the most complex blend of pathos and defiance, of despair to hope, balancing personal and universal experience in an expression of extraordinary emotional power. The hardship of daily life, the fragility of human existence and the threat of death are themes that haunt Picasso's still-life paintings of the war and Liberation periods" (F. Morris, Paris Post War, Art and Existentialism 1945-1955 (exhibition catalo♍gue), Tate 🥂Gallery, London, 1993, p. 155).