Still Life



Picasso, Pablo b. 1881, Malaga, Spain d. 1973, Moulins, France


Still Life, signed upper left, in the plate, numbered by hand lower left hand corner, 505/2000


Lithograph in colours


Arches velin 79 x 61 cm approx. (sheet)


Excellent. Colour may vary and not appear as in the reproduction above.

Reference / Literature:

see Gallwitz, 1985. p.40 pl. 27 (reproduced in colour)


Private collector, USA


Contact for price

This work is based on the painting dated 1947, Still Life with Table, housed in the Galerie Rosengart, Lucerne, Switzerland. This lithograph, along with four others in the Inventory, date from 1969, and were all produced in editions of 2000. The production of such works also coincided with the most prolific outburst of Picasso’s artistic creativity where over 1000 works of art made in a three year span that included a significant body of graphic works and over 200 paintings. This is all despite Picasso’s age being 89! Furthermore, the suggestion that Picasso’s energetic display of creativity was the result of his democratisation of art in his final years, has currency.[1] The large numbers in the editions published and offered by Salon, reflects a levelling of art on a cultural and social divide. Indeed, the larger the number in the edition, the less expensive the print, and so is the case with the wonderful rendering of a still life painted in Picasso’s post war years. The less expensive a work of art, the more accessible this becomes for the collector. For some signed in the stone is enough, for a signature would make a work like this out of the market for most art lovers.

[1] The term ‘democratisation’ is the word is use describe what Gallwitz referred to as Picasso’s stylistic abandonment of “subject and object” in favour of a freer more “equal” relationship between what Picasso painted. Picasso, did for example, consider many motifs he painted throughout his life “equals”, one being the bull, another, the faun. Gallwitz claims that in acknowledging this kind of anthropomorphic homogeneity, “Picasso recognised himself” and this is turn informed his subject matter where the artist often depicted himself in deprecating demeanours: gnome, clown, Muskateer. To reach this seemingly loss of control, particularly in the final paintings, it becomes evident in the blending of colour and erratic nature of the brushstroke.  These are manifest in many of the late paintings, however, not he lithographs. In this case the line work and colours used in its creation are vibrant and fresh. and in the others in the Inventory.