Pablo Picasso
Bacchanale, 1955
Aquatint in colours
22 x 30 1/8 in
56 x 76.5 cm
56 x 76.5 cm
Signed in pencil and numbered from the edition of 300
109087
£ 18,000.00
Aquatint in colours, circa 1955, on Rives BFK wove paper, signed in pencil and numbered from the edition of 300, published by Atelier Crommelynck, Paris, with their blindstamp, 56 x...
Aquatint in colours, circa 1955, on Rives BFK wove paper, signed in pencil and numbered from the edition of 300, published by Atelier Crommelynck, Paris, with their blindstamp, 56 x 76.5 cm. (22 x 30 in.)
After his move to Paris, Picasso became inspired by the classical art filling the many museums of the city and set his sights on recreating scenes from Greek and Roman mythology in his printmaking. The present work is one of the many modern interpretations of a classical myth by Picasso. ‘Bacchanale’ comes from the Latin word ‘bacchanalia’ which were ancient festivals to honour Bacchus, the Greco-Roman god of wine and festivity, and were often occasions of drunken revelry.
The deep-set eyes of this Bacchus figure and the Breton top he wears suggest Picasso is in fact projecting his own likeness into this mischievous mythological figure as a reflection of Picasso's self-image. In this scene, Picasso presents us with a more sedate version of a bacchanale, instead of the usual lively, chaotic depiction of Bacchus and his revelers, the three figures appear almost melancholic in pose and expression which is also echoed in the calm serene colour pallet.
After his move to Paris, Picasso became inspired by the classical art filling the many museums of the city and set his sights on recreating scenes from Greek and Roman mythology in his printmaking. The present work is one of the many modern interpretations of a classical myth by Picasso. ‘Bacchanale’ comes from the Latin word ‘bacchanalia’ which were ancient festivals to honour Bacchus, the Greco-Roman god of wine and festivity, and were often occasions of drunken revelry.
The deep-set eyes of this Bacchus figure and the Breton top he wears suggest Picasso is in fact projecting his own likeness into this mischievous mythological figure as a reflection of Picasso's self-image. In this scene, Picasso presents us with a more sedate version of a bacchanale, instead of the usual lively, chaotic depiction of Bacchus and his revelers, the three figures appear almost melancholic in pose and expression which is also echoed in the calm serene colour pallet.
