1946
Shortly after the Second World War, Picasso returned to the medium of lithography whilst working at Fernand Mourlot's studio in Paris. His lithographic portraits of his current muse and lover, Françoise Gilot, produced during this time are particularly fine. Picasso enjoyed the flexibility of lithography as it allowed him to showcase the sequential development of stages in one work and thus show the workings of his mind as he progressed. He famously remarked 'the movement of my thoughts interests me more than the thought itself'. The present image, amongst the others of Gilot in this series served as ways in which Picasso could understand and capture her multiple personalities and moods. Here he has used the freedom of the lithographic crayon to simplify Gilot's features into free-flowing, minimal lines encouraging the viewer to focus on her state of mind within, instead of just regarding her beauty.
Lithograph, 1946, on Arches watermarked wove paper, signed by the artist in pencil, inscribed 'epreuve d'artiste', one of six artist's proofs, aside from the edition of 50, printed by Mourlot, Paris, 65 x 50 cm. (25½ x 19¾ in.)
Mourlot 47; Bloch 403.
Lithograph, 1946, on Arches watermarked wove paper, signed by the artist in pencil, inscribed 'epreuve d'artiste', one of six artist's proofs, aside from the edition of 50, printed by Mourlot, Paris, 65 x 50 cm. (25½ x 19¾ in.)
Mourlot 47; Bloch 403.
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