Picasso: Toreros by Álvaro Gueny

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PICASSO: TOREROS

PICASSO

SABARTES

JAIME

TOREROS WITH FOUR ORIGINAL LITHOGRAPHS

NEW YORK GEORGE BRAZILLER MONTE-CARLO ANDRE SAURET -

LIBRARIES UNIVERSITY OF FLORIDA

Translated from the French by Patrick Gregory

Library

Congress

Catalog

Card

Number 61-16860

PUBLISHED 1961 BY ARRANGEMENT WITH ANDRE SAURET. ALL RIGHTS RESERVED. NO PART OF THE CONTENTS OF THIS BOOK MAY BE REPRODUCED WITHOUT THE WRITTEN CONSENT OF THE PUBLISHERS, GEORGE BRAZILLER, INC., NEW YORK

PRINTED IN FRANCE

he four original lithographs

by Pablo Picasso

were executed especially for this boo^

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fr'3,fel*MJ

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_LL true "aficionados" are

the

same

passion

" diestro, " the his

see

matador of

admiration

fervent

aficionado

himself.

boldness, or

drawn to the

Each of them

irrepressible enthusiasm.

â&#x20AC;&#x201D;

his

torero

often

Perhaps

the "muleta"; or quite simply, perhaps his

profile.

precedes the

â&#x20AC;&#x201D;

kill,

am that

" torear, "

for reasons it

referring

bull-ring

his

being

quite

his is

skill

the

that gesture

moment of supreme

desire,

one and only

who commands

unknown

matador's

the is

by the same

prey to the same

his predilection, the

courage; perhaps

his

the

elegance,

his

with the cape or

way

that he projects

which immediately

anticipation,

the

final

drama

scene of that tragic

to cheer the best

â&#x20AC;&#x201D; and

him

sense,

their

from

aficionados

the

man of

to bid

the

and death.

â&#x20AC;&#x201D; even

their choice

him Good Courage

derisive

sun

This

the latter

are

still

tor

all:

the

not

still

arena at

his

make

commands

behind him, even when

whistles of other

shines

what drives

for the next ordeal; to

their applause, that

and that they

admiration,

for

life

homes and brings them

by the vigor of

provokes the

shout,

their

toreros

spectators.

the

Clap and

public,

stock

breeders or promoters.

These

phrases

can

give

the individual aficionado.

emotional

state

little

And

idea

of the emotional

they can give

of the great multitude

that

state

no impression of

the

overflows the

arena.

On have

into

Here

spectacle.

one

"sunny side" of the arena the

the

settled

has

nado, the only

shares the

places

man who

of bulls

—

all

takes shape

—

flames

gets under

own

opinion

his

about.

And

way

dyed-in-the-wool

the

—

really

here,

soon

aficio-

knows what

where each

man

rush.

worthy of

this

excitement, that the

crowd

vibrant with exultation, quick to react, ready to burst

of passion.

Those whose is

show

find

same excitement and the same conviction that he has found

the only place in the arena

into

you

Here

regulars, the real public,

long before the beginning of the

in the "bleachers," the

down.

sat

this business

their

seats

They

are

arrive

And

the

their

sun burns bright above

them.

shady side straggle

There

own

leisurely

in.

pace and are thus

succumb

slower to

some fever

sort of pretext

mounts

as the

of the sun's hot

the

foot of the

found to

one

with

all

of the arena. sorts

ingly

the

people together; that

tiers

the

That is

little

"corrida"

why

the

importance

that

promises

hope that has

they accept ungrudg-

proximity of foreign

on the shady

here than

beginning, one

of inconveniences: the prodding

commencement o(

uncomfortable

Certainly the

The

for the absence

more comfortable

scarcely

be worthy of one's expectations. these

not long before

conversations flowing.

start

neighbour seated behind you the

crowd grows denser and, except

plebeian side

awaiting

brought

But

excitement.

the

rays,

puts up cheerfully

while

side appear to

knees and

elbows.

be somewhat calmer.

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But

there,

too,

crowd

the

or enthusiasm at the

The only rests

real

its

preparing to unleash

difference

between

The

the price of the tickets.

same temper, ready to

impulses.

the

slightest

two

the

indignation

entire

not been

world apart: they have passion,

of the arena

sides

crowd now

provocation to give

Except, of course, for the tourists.

aficionado's innate

its

pretext.

first

driven

They

the

shares the free

arena by

but have merely come to

play

constitute

see

the

"some-

thing new," something they have heard or read about and which, in all

likelihood, they will never see again.

will,

perhaps,

contribute

"be with the crowd," and

the

applause

that's

all.

as tourists

that they

or protestations; just to

And among

their

numbers

will

undoubtedly be

â&#x20AC;&#x201D;

loyal

members of some Society But then,

Animals.

few swooning ladies and indignant gentlemen

takes

With

these reservations,

earth

more propitious

The

than the bull-arena.

all

for the Prevention

sorts are

of people to make up a crowd.

convinced that there

for the propagation tiers

circular;

are

beginning nor end; and every spectator

from the scene of

action.

"All social

all

classes,

common said. And in

birth

sexes,

ages,

forgetfulness of their it

wild

true.

is,

and

from

all

that

no place

has neither

his seat, equidistant

come

together here.

ranks mingle together

daily cares,"

The proof

of mutual affection

the circle

All sorts of people all

of Cruelty to

the

somebody once

barest

trifle

gives

outburst of whistles or applause, with the entire

arena

common

partaking of the

giant caldron boil over.

hot tempers, In this to

the

book of tauromachian drawings as

with

bullfights,

comes from one of

his

of lentils,

of wine,

plaza.

Now

slice

sides

of the

the wine

Picasso takes us directly

important events those

sadness there

a goatskin

both

he was taken there as a child, hand in hand

What

And what

him!

afternoons

caldron that the arena most resembles.

plaza, just

with his father. for

excitement

Indeed, what with the flaming sun and

in those

with

trips

memories of "Sunday

nothing!"

prose-poems, and

must have been

â&#x20AC;&#x201D;That

preceded by:

a circular stairway."

transformed into soda

But

water....

phrase

"An aroma

this

not the

Let's see.

â&#x20AC;&#x201D;

of melon that the jew's-harp ignites and that the torero's

cape

drags through

its

sponges the

belle for sagacious sprees,

"...semen of

lilies,

the horse's

whom

the bull, into

sire,

cork, departing with his

"The

wounds."

stars

thrusts

from the cloak of

home

This obsession with bulls haunts Picasso's to this

translated

this

And

arena

beauty..."

And

most

into

are

his

vivid

memories of the personal

thanks

bull-ring

impressions;

and

part, to the glory of the Picador.

crowded with thousands of expectant

thousands more

these pages.

Here

book.

drawings,

into

dedicated, for the

The

memory.

and

obsession we can accompany him, hand in hand, by turning

pages of

the

and capers

his will

places banderillas of grace

light."

will witness the action

spectators.

of the corrida through

Thousands upon thousands of aficionados, united by

M** " 1

the same

fervor,

the

same enthusiasm; ready to

let

themselves be

carried away, to shout their approval or protestation of the same

performance "

war

its

defiant

That cry "a able it

Sunday."

this

los toros!" in

Its

not

much by to

all

a statement,

deep

the

those

essence; but since

are

who

first

contains

not aficionados.

but especially from

one has seen since childhood,

shouts

awoke on

provocation springs from the

" aficion, "

against.

but rather an exclamtension

who

some

contains something exceptional, inconceivits

up within him

love for the that

â&#x20AC;&#x201D;

challenge

and indefinable

swelling

bulls

cry,

favor of a gesture, a torero,

Vamos a los toros!"

ation, as

â&#x20AC;&#x201D;some

summer

a sight in

the

has

felt

"bullfight

sun,

of the bulls

from

â&#x20AC;&#x201D;

company of

those one's

Jft-

The dawn of

father or one's friends. for

full-scale

flame

the

One warms

fiesta.

Aficion

"aficion."

a "bullfight

one's a

day"

the signal

enthusiasm at the sacred

word

that

the

aficionado

bears blazoned within his consciousness in bold, exclamatory letters.

Since we are attending the corrida in the

will

have no difficulty

but above

No displays creatures,

all,

one

becoming

thanks to the bulls

has

him.

seen

His

vibrant

bull

bulls

with

life

are

â&#x20AC;&#x201D;

that

exactly real

translated

from the

Picasso,

Thanks

to him,

has taught us to

Picasso

sees

him,

bulls,

not

oxen;

bulls;

see.

wild

and with incalculable strength; proud,

courageous animals with ferocious impulses bull,

company of

aficionados.

artist's

â&#x20AC;&#x201D;

memories of

the

all

true

image of

the bullfights that

he has witnessed. to

rhythm of

Picasso

impressions.

his his

The

pictures

tauromachian lyricism,

drawings which

are

not

memories and obliges us

evokes these

strictly

permit us to follow the

first

narrative

all

by means of those

works

â&#x20AC;&#x201D;many

having been drawn before going to the corrida and

memories of previous corridas his

admission

engravings, those

theme, they are

figure

arena.

lithographs,

before

Here

the

this

known

today; all

â&#x20AC;&#x201D; drawn, Picasso

linoleum

and though

distinctly

Picasso has said, to earn

has cuts, all

made many and

paintings,

drawings

of them

have

the

same

different.

volume, the principal personage the Picador.

of them

made up of

that yellow-clad

Let figure

arena

;

said,

however, that the picador

There

bullfight.

picador

the

man on

the

arena immediately following

the

not the principal

important people

several

are

horseback.

this

that,

volume for

element of the this,

we can

seems that Picasso

him

fight.

scarcely

least,

And fail

the since

his

pike,

the

and outside the

artist

has

seen

the

picador

kill.

attempting to prove

is is

the

most important

he appears to be convinced of

agree.

Picasso shows us the picador in

the

cape-work; and the "third

initial

of the pikes" precedes that of the banderillas and the In

enters

many him

this

collection

of washes

diverse roles; in action with in

arena, in the side-streets,

many

bullfights,

coming out of

the corral;

great

home, engaged

the

bosom of

domestic pleasures, or simply resting

in diverse

his family,

somewhat

ill

at ease, tired perhaps,

when

he does not seem to be downright bored.

do not think

sees

with more this this

at all possible to

it is

has

really

clarity, that

seen

becomes

which merits

upon

them with

his personal attention.

where bullfighting

evident,

for

Picasso

these spectacles with a passionate eye

his

aficionado

strikingly

compare our

visions

tradition,

â&#x20AC;&#x201D;

vision to

no one can imagine what

Picasso undoubtedly sees better,

it.

true in almost every case, but

fact

to look

that

Indeed, as he has said,

that of Picasso.

visions

blood,

and by

has

Certainly

concerned,

never ceased

and to compare

lifelong artistic

aficionado,

devotion.

If- <L g & .

V- £ .4 #>

•

?->->'ÂŤ

'& tit

Above

Picasso

all,

than any other man. ardor,

what

skill

has studied

How

Bull with

the

permits him

to paint

three-quarter

face;

charging

he pleases?

him

the bull as a highly personal thing: he sees

more perception

What

this creature?

does he envisage

halt;

treats

in profile, full face

leaving

drunk, defying the sun, plunging his horns into

the

"toril,"

void; galloping

or at a slow jog; stricken by a pike, driven to fury by the pain of the "puya"; or seeking to

embed

flanks of a horse (at the time

covering). risks,

Today, shielded by

but he has

less liberty

his horns, at

when a

any

strong mat, the horse runs fewer

of movement.

seems to have reverted

to his former role in the medieval jousting matches.

price, into the

horses did not have protective

Picasso, a true

t^-L.fo

1£

-Z-7'Z^o

az:

aficionado, detests this matting which, in his childhood, he saw only at burials.

The

bull

the heart of the corrida: without

him

would

there

be neither toreros, nor arenas, nor "aficion."

While

awaiting

anxious anticipation.

Without

the bull's

entrance,

He becomes

actually being present, he

the is

the

crowd

idee fixe

vibrates

with

of the multitude.

already there

—

that

to say,

he seems to occupy the centre of the arena even before his arrival. It is

this

waiting for the bull that arouses the emotions to such an

inexplicable

little

The

bull

little

and paralyzing pitch

— tremulously—making is

excitement.

The

the air quiver with fear

fever

rises

and hope.

wild beast that must meet his fate head on, that

£?-2-V*

must never of is

power and

his

Everyone

himself with

bull

the

strength and majesty, of passion and blind

from him, from

his pride.

The

never recoil from danger.

flinch,

fearlessness,

valor, that every aficionado draws

associates himself with his bravery,

And more

importance.

his

symbol

effort.

than

his

and endows

bravery,

the bull's nobility that counts.

"The

bull

five years old, the

And

the refrain. bull's weight,

and

such

must be around

five

by the

hundred

at the required age, the wild bull

his hide

smooth and

brilliant,

arrogant, his legs short, his

tail

â&#x20AC;&#x201D;

so goes

for the

torero five and twenty"

the age fixed

regulations.

With

kilos.

that weight,

robust and nervously

his eyes sharp,

delicate, his

his

horns

alert;

neck broad and

finely pointed,

his

v«v

W*" iSB^TP'

.-•

•

hooves round and small that

they

the

pierce bull's

the

â&#x20AC;&#x201D;and

turf as

entrance,

so hard, as B. Ibanez has remarked,

though they were made of

the

breathless

silence

transformed into an enormous sigh, crowned

by thousands of

breasts

and culminating

of the

steel.

crowd

by an Ah! emitted

sustained applause.

"History maintains a profound silence concerning the circumstances

which surround the

notes Santos

Lopez

Pelegrin,

first

combats between men and

known

Abenamar,

Until the reign of Alphonse

of the Bullfight.

bulls,"

in his Philosophy

these spectacles

were reserved for the nobility; everyone seems to be in agreement with the fact that called the

was the famous Ruy, or Rodriguez Diaz del

Cid Campeador, who was the

first

dismount

Villar,

the

•

^>to

I<.0

t>{.ll*>

arena and to confront the bulls with his the

bull

fiesta

was

already

lance....

widespread,

and

In the year

noo,

Spanish

typically

institution.

If the bull fiesta

began

the starting point

horseman's exhibition,

agreed that "picar," which

must be

comes from "lancear," thus

represents

of the torero.

Let us pursue further Santos Lopez Pelegrin's commentary on the origins of the "picar," since the picador, by the will and grace

of Picasso,

mounted

the hero of this work.

combat were

Gregorio

Gallo,

Santiago,

and

squire

who

the to

Count of His

invented

Majesty

the

observe that "famous in

Villamediana,

and

'espinillera'

the

well

Order of

protect

the

*Ml!

,'i

riders'

legs

â&#x20AC;&#x201D;which

known as 'gregoriana,' and now employ under the name of 'mona.'"

which the picadors In

his

very

first

he dubbed "Lefty."

worked

the

henceforth

were

engraving Picasso depicted This picador was so

engraving

though

were

regular

the

image

in reverse.

led

first

was

this

engraving

to accept the possibility that there were left-handed

engraving permitted all

out the

drawing on

or whether such creatures really had existed and Picasso's

picadors,

do not know whether

whom Picasso

would reproduce

paper, forgetting that the impression of the plate

that

picador

named because

to tolerate their existence.

the "rulebooks,"

bull,

face

on,

far

stated that the picador

must seek

mark of

the arena.

the

one-third

U.W.:

b-b0-\\[_

I A ,

<>Uo

•""•

"The morning of the

distant

arena,

with

concentric

clearly

the

color,

distinguishable

'barrera'

and

the

latter

are

not

permitted

from

(depending

from

Picadors

the corrida, there will be traced

cross

five

the this

size

the sand of

circumference seven

meters

of the

arena).

when executing

line

the 'suerte.'" J.

de Cosio, in his

work The

Bulls, continues to initiate the

unenlightened reader to the mysteries of the bull-ring: "The picador

must approach is

the bull in such

always on his right."

conventional picador.) reason.

108

(It is

"This

way

that the 'valla' or 'barrera'

understood that he rule,"

referring to the

he adds, "is not without

emanates from the fact that the picador holds

its

just

his pike

L^ j#

S I ^ V

in his right

charge,

hand.

Thus, whenever the bull takes

by simply giving

his

upon himself

half turn, the picador will be in the correct defensive position

be able to

will

execute

acquired by the cape

â&#x20AC;&#x201D;

the

'suerte.'

'suertes' in

know

already

who

especially

modern

of the fight the toreros on foot become

the bull's ardor.

horse a quarter turn, or at most, a

spite

the

and

autonomy

bullfighting, in this part

auxiliaries

of the picadors."

that the object of the pike-"suerte

to quell

This fact accounts for the interest of the breeder,

concerned with the stamina of

his

animal

;

and the

instrument chosen to mortify the bull will depend on the quality of the animal's performance.

way

The "espada" too

which the bull endures

his

interested in the

treatment, for the risks that he

must run But the

harm

executing his work will depend on the

bull

must not be

excessively

his effectiveness in the final third

aware of Is it

bull's

Such

fatigued.

of the contest.

condition.

fatigue

can

Everyone

this fact.

the fear of seeing the picador stick the bull too energetically

or incorrectly that prompts the crowd to whistle at the horseman?

This seems more than

hoots and whistles.

And

â&#x20AC;&#x201D;and

yet, the

adheres to the rules of the

118

check

the time, the picador has

the air

picador

game; and

The picador cannot withdraw him

Most of

likely.

only to make his appearence

acts

immediately

too

in his

own

before the charging bull; he

any cost; and

filled

with

blameless since he only

he does so in

defence.

must hold

somewhat

evasive

IBM

(so-

manner,

and

The at

probably to keep himself covered, to protect himself

his horse.

picador's profession

bay with

his

profound knowledge of

mind

his exact role in

to the breeder,

said

a very

that bulls

the

course

terrifying death

124

â&#x20AC;&#x201D;

Finally,

he must

In general, he began

seldom

his

keep the bull

Moreover, he must always keep

bulls.

picadors.

kill

horse constitute a terrible danger. in

hard one.

physical strength as well as a in

the conflict, his obligations to the "espada,"

and to the public.

the rules of his trade. It

requires great

pike

career,

he does not

the first

But the

After enduring

picador

can

know by

heart

the bull pastures.

from

falls

many such

expect

lapse into insanity.

his falls

sudden,

Il(\t>

When a

between corridas,

the picador,

not obliged to attend

"tanteo" or an "encierro," he must look after his horse and, time

permitting, after himself. clad

figure

For the picador

on horseback, wearing on

iron

shields

who

drags his feet

his

legs;

also

not simply

a yellow-

"castoreno" on his head and a

work-wearied

when he walks because of

human

being,

the heavy weight they

have to support.

Thanks

to the drawings in this book,

examine the picador's

harrowing work, of life

that

lassitude

spent

his

life;

his

we can

apparent calm

easily envisage

and

the product of his

continual contact with bulls and horses, of a in

the corrals than in the family circle; his

and profound indifference to

his

surroundings, his distant

bull,

of the breeder, of the

and of the public. from any

sort

All this

of domestic

The apparent calm of

calm. life's

around him

everything,

relationship

leads a

life

out by

can a

to his weary

The

of the

be tranquil or stormy.

picador could be termed

the

Oh, what does

wife, girl friend

his tear

of the horse, of the promoter,

whether

life,

man of

frenzied flutter of skirts, swirling

dancing-girl!

due to

combines and conspires to cut him off

apart, in the very

How

intrusions.

torero,

are

midst of

his

life,

and

restless

in spite

nature be affected by the

upward from

the

body of

matter to him whether he

tavern

sought

or daughter, since they are only phantoms

mind!

truth

that for the

picador,

who

never knows the exact

JIL

11 3». '

' 1

and height of

time, place,

his inevitable

last

like to possess

Such a

man

his family,

war with

and with

Looking

the

and elsewhere,

â&#x20AC;&#x201D; much

he would

it.

the picador as

everything that

fall,

not himself can never entirely belong to him

find

himself, with life

â&#x20AC;&#x201D;and

drawings

him

in Picasso's drawings.

without caring for any other things.

and washes reproduced

discern a great difference in the

the bull, with the "aficion," with

portraying the torero: handsome, covered with

artist's

silks

this

book

manner of

and Branden-

burgs, agile in the arena, flashing his cape, placing his banderillas,

working the at the

bull

with the "muleta," making the

applause of the crowd.

kill,

and smiling

"The a

of this art. in

art

the

torero was handed

popular song of the

only

the distant past.

last

know that it exists today and that it existed know it for an art that, like other arts,

requires great "maitrise"

But when

this

down from Heaven," runs do not know the origin

century.

art

and we admire

reflected

believe in the origin attributed to

it.

by the it

art

of Picasso, then we

by the old song: "The

art

the torero..."

JAIME SABARTES

LIST

OF ILLUSTRATIONS

The end-papers are from a wash executed by Picasso on July

1919

CORRIDA AT ARLES

Wash

PICADOR AT TABLE

Ink and Wash

PICADOR ON HORSEBACK

Ink Drawing

THE PICADOR'S ENTRANCE

Wash

9/10X2S

4/i"

11-7-59

20x25

4/;"

H-7-59

9/10x25 4 /s"

19 9/10

25 4/5"

PICADOR STANDING IN THE ARENA

Ink Drawing

THE PICADOR

Ink Drawing

171/10X1*7/10'

MATADOR AND WOMAN

3/10V12 4 /i"

PICADOR,

Wash

20X2J 4 /s"

CAPE-WORK

Wash

19 9/ IO>.'25 4/i"

CAPE-WORK

Wash

19 9/10 x 25 4/s"

TOREROS

Wash

22XM

23-8-59

PICADOR IN THE ARENA

Wash

THE PICADOR

Wash

BULL CONFRONTING PICADOR

Wash

7/l°X2j 9/10"

CAPE-WORK

Wash

9/IOX25 9/10"

THE THRUST

Wash

9/IOX26"

BEFORE THE THRUST

Gouache and Wash

I/IOX2I 4/;"

THE THRUST

Gouache and Wash

I/.0X22"

BEFORE THE THRUST

Gouache and Wash

J/IOX22"

BEFORE THE THRUST

Gouache

BEFORE THE THRUST

Wash

BEFORE THE THRUST

Wash

THE THRUST

Wash

DOUBLE THRUST THE OVERTURNED HORSE THE PICADOR'S FALL

1/10"

l/ioxil 4/5"

22X1,

22-8-59

,/,0"

li-n-59

12-11-59

1/.OX22"

7/10x13 7/10"

7/IOXI4

—

9/IO" "

IIXI4

9/'

Wash

IIXI4

9/IO"

Wash

.OI/5XI2

Wash

,/2"

1/5XIZ3/5*

18-.2-59

CAPE-WORK

THE THRUST

THE MONK AND THE PROSTITUTE

Wash and Ink

A FRIENDLY CHAT

Wash and Ink

THE BULLRING

Wash

7x9

THE BULLRING

Wash

7x91/2"

THE BULLRING

Wash

THE BULLRING

Wash

THE BULLRING

37 38

93/5x13

Wash Wash and

20X

Pencil

4/5"

27 4/5"

x 27

9/10"

19 9/10 x 27 9/10" 1/2"

7x9

1/2"

7/10x9

1/2"

Wash

7x9

1/2"

THE BULLRING

Wash

7x9

1/2"

THE BULLRING

Wash

1/2"

THE BULLRING

Wash

7x9

1/2"

THE BULLRING

Wash

7x9

1/2"

THE BULLRING

Wash

THE BULLRING

Wash

THE BULLRING

PICADOR AND PROSTITUTE

U-'Wj

THE ARENA

Wash

CAPE-WORK

Wash

14 3/5

18 7/10"

BEFORE THE THRUST

Wash

14 3/5

18 7/10"

THE BANDERILLAS

Wash

.4 2/5 x 18 9/10"

CAPE-WORK

BULL CONFRONTING PICADOR,

BEFORE THE THRUST

18 9/10

Wash

9 3/5 x 12 1/5"

Wash

(two-page spread)

TWO TOREROS

i/z"

9 2/5 x 12"

Wash Pastel and

x 24

9 2/5 x 12 2/5"

9 z/;x ii 1/5" 18 7/10 1

4/5

x 12

1/5"

x 30 1/10"

Wash

7/10x28

1/2"

Wash

7/10x28

1/2"

7/iox 23"

IJI

;

BULL CONFRONTING PICADOR, ONE TORERO

PICADOR AND PROSTITUTE

PICADOR AND

WOMEN

lnkDrawingandWash

PICADOR AND FIGURE

InkDran'iugand Wash

WOMAN

Wash

187/10x28

1/1'

1-6-60

Wash

7/IOXIZ

4/5"

4-6-60 "

4/5x24

9/ 10

7/10x12

4/)"

4/5/6-6-60

19 19

PICADOR AND

TOREROS

PICADOR AND

Wash

24 9/10 >, 8 1/10"

PICADOR

Wash

PICADOR SMOKING AND

Wash

209/10X177/""

PICADOR, GUITARIST

PICADOR AND VALET

PICADOR AND DANCING

PICADOR AND

WOMAN DANCING ON

PICADOR AND DANCING

HEAD OF A PICADOR

PICADOR AND

lnkDrawingandWash

25 9/10

PICADOR

lnkDrawingandWash

9/10.203/10"

A MEETING

Wash

9/10x20"

FIGURES

PICADOR AND

WOMAN AND WOMAN WOMAN

AND DANCING WOMAN

HEAD OF A PICADOR (verso of no. PICADt )R AND DANCING WOMAN

WOMAN DANCING WOMAN WOMEN DANCING WOMAN DANCING WOMAN

WOMAN AND WOMAN

A TABLE

WOMAN

61)

Wash

1/1XII

4/5"

4-6-60

lnkDrawingandWash

4/5x24

9/10"

5-6-60

9/10x17

2/5"

Ink Drawing

7/10x249/10"

Ink Drawing

7/10x24

9/10"

Ink Drawing

20I/.0X2,

9/,0"

6-6-60

Wash

203/10x25

9/io»

Wash

20 j/io> 25 9/10"

Wash

20X2,

9/.0"

Wash

203/10x2,

9/,o"

Wash

20 1/10X2, 9/1°"

Wash

203/^0x25

9/'°"

Wash

2O1/.0X25

9/10"

20x25

9/.0"

7-6-60

9/lOXlO

1/10"

8-6-60

Wash Ink Drawing

lnkDrawingandWash

WOMAN

5-6-60

Wash

:•

203/10"

203/10x25 20

9/10x14

9/io" 3/5"

.0-6-60

WOMEN

PICADOR AND

PROFILE OF SPANISH LADY

PICADOR AND

Wash

20 4/5 x

4 3/i"

Wash

20 4/5 X

4 3/5"

WOMEN PICADOR AND WOMEN

SKETCH SHEET

VILLAGE SCENE

Wash

PICADOR AND FIGURES

Wash

97 /,ox

zj 4/5"

PICADOR AND

WOMEN PICADOR AND WOMEN PICADOR AND WOMEN

Wash

7 J/I0>

Wash

169/IOX

Wash

.6 9/.

(verso of no. 81) ...

WOMEN

Wash and

Pencil

2/5"

Wash and

Pencil

4 7/.OX

z/j"

Wash and Ink

ash

PICADOR AND DANCING

DANCING WOMAN AND LADY

Wash

PICADOR AND FIGURES

Wash

PICADOR AND DANCING

SKETCH SHEET

PICADOR AND FIGURES

SKETCH SHEET

GIRL

SKETCH SHEET

WOMAN

(verso of no. 96) ...

MONK AND OLD WOMAN PICADOR AND WOMEN OLD WOMAN AND GIRL PICADOR AND TWO WOMEN

FOUR HEADS

NUDE FIGURES

4 7/IOX 22 2/5

Wash

Wash and Ink

1/5

3/5

2, 9/10

Wash and Ink

Wash

16-6-60

I7-6-60

7 7 7

./5"

•

3/5 >

'/!"

3/'°

171/10

7 i/io> '3 4/i"

,7/20-6-60

13 4/5

7/10

13 4/5 K

Wash and Ink

25 9 /.o

1-6-60

>} 4/5

Wash and Ink

20 X 25 ,/io

Wash

2. 4/5"

20 J/IOX 2, j/.o

17 1/5

Wash and Ink

4/5"

20 X 2, g/.o .9 9/10

Wash and Ink

...

2/,"

,0 I/IO'

20 X 25 9/.0

Wash

19 9/10 X 25 7 /,o

Wash

AND OLD WOMAN

3/5

10-6-60

9/10X

*3 4/i"

20-6-60

22/23-6-60

20 3/.0X 25 9/10

24-6-60

29 1/2"

26-6-60

J/,

153

THE PRINTING OF THIS BOOK WAS COMPLETED IN SEPTEMBER 1961 BY DRAEGER FRERES. THE FOUR ORIGINAL LITHOGRAPHS,

ONE OF WHICH IS IN TWENTY-FOUR COLORS, WERE PRINTED BY MOURLOT FRERES.

PRINTED

FRANCE

LAD 3

IZhS 0M2QQ 2T0b

PSSY5

«» P>