Picasso at the Bateau Lavoir

Pablo Picasso Jeune Garçon nu à cheval, 1906

E d i t e d by M a r ily n M c C u l ly

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Pablo Picasso

Jeune Garçon nu à cheval, 1906

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Pablo Picasso

Jeune Garçon nu à cheval, 1906

Pablo Picasso Jeune Garçon nu à cheval, 1906

E d i t e d by M a r ily n M c C u l ly Te xt by M ol ly D or k in

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Contents

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Foreword

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Picasso and Gauguin

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Jeune Garçon nu à cheval, 1906

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Other Modern and Contemporary Influences

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Introduction

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The Impact of El Greco

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Picasso in Paris

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Iberian and Preclassical Greek Sculpture

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The Bateau Lavoir

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Picasso’s Use of Old Canvases

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“La Belle Fernande”

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Later Provenance

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Kees van Dongen

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Conclusion

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The Rose Period

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List of Plates

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The Watering Place (1906)

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Acknowledgements

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The Watering Place Series

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Pablo Picasso

Jeune Garçon nu à cheval, 1906

Foreword Dickinson is delighted to present this survey of ‘Picasso at the Bateau Lavoir’ for Frieze Masters. The centrepiece, Jeune Garçon nu à cheval, with its artistically significant subject matter, and its remarkable provenance, is an evocative example of Picasso’s genius during this extremely influential and fruitful period in his early career. The ramshackle Bohemian enclave of the Bateau Lavoir bore witness to the intensely creative energy of Picasso and many of his fellow artists at the start of the 20th century. Our presentation demonstrates how receptive and indebted Picasso was to the work of other artists, transforming traditional techniques into new, original and unique representations, the results of which still reverberate strongly today.

Researching and bringing into fruition ‘Picasso at the Bateau Lavoir’ has been an exciting project. Due to the rarity of Rose Period paintings, this presentation has only been possible with the generous contributions of a number of anonymous collectors worldwide, to whom we are immeasurably grateful; such generosity has allowed us to illustrate in further depth the influences Picasso absorbed during these stimulating and formative years, his friendship with Van Dongen, and his relationship with the first real love of his life, Fernande Olivier.

It has been an honour to collaborate on this project with the renowned and world acclaimed Picasso scholar, Marilyn McCully. Marilyn’s name is synonymous with Picasso scholarship across the globe and her vast knowledge of Picasso’s early years, as well as her disciplined editing guidance, have been vital to the success of this project. It has been an insightful and thoroughly enjoyable experience working with Marilyn and we thank her most sincerely.

Emma Ward Managing Director, Dickinson

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Pablo Picasso

(1881 – 1973)

Jeune Garçon nu à cheval, 1906

Signed lower left Picasso.

Oil on canvas 55 x 38 cm. (21½ x 14¾ in.)

Provenance Kees van Dongen (1877 – 1968), Paris, c. 1906 ; a gift from the artist in exchange for a painting by Van Dongen, La Vigne (1905).

Galerie Charpentier, Paris, by 1948.

Capt. Edward Molyneux, Paris and London.

Marlborough Fine Art, London, c. 1950 – 1957.

Sir Charles Clore, London, bought from the above on 13 March 1957.

Private Collection, Monaco & London.

Private Collection.

Literature D. Sutton, Picasso, peintures, époques bleue et rose, Paris, 1955 (illus. pl. IX).

P. Daix & G. Boudaille, The Blue and Rose Periods, A Catalogue Raisonné 1900 – 1906, London, 1967, no. XIV.9 (illus. p. 287).

P. Lecaldano, L’Opera completa di Picasso blu e rosa, Milan, 1968, no. 237 (illus. p. 106).

C. Zervos, Pablo Picasso, Vol. XXII, Supplément aux Années 1903 – 1906, Paris, 1970, no. 236 (illus. pl. 85).

J. Palau i Fabre, Picasso, The Early Years 1881 – 1907, New York, 1981, no. 1199 (illus. p. 435).

A. Wofsy, ed., The Picasso Project, Picasso’s Paintings, Watercolors, Drawings and Sculpture, San Francisco, 1991, no. 06:18.

H. Seckel-Klein, Picasso und seine Sammlung, Munich, 1998, p. 232.

M. McCully, Picasso in Paris, 1900 – 1907: Eating Fire, exh. cat. Amsterdam and Barcelona, 2011, pp. 197, 240 (illus. pl. 95).

J. Barón, El Greco & la pintura moderna, exh. cat. Madrid, 2014, pp. 162, 317 (illus. fig. 97).

Exhibited Paris, Galerie Charpentier, Chevaux et cavaliers, 1948, no. 99 (illus.)

London, Marlborough Fine Art, The French Masters of the 19th and 20th Centuries, Nov. – Dec. 1950, no. 35 (illus.)

London, Marlborough Fine Art, A Great Period of French Painting, June – July 1963, no. 23.

Amsterdam, Van Gogh Museum, Picasso in Paris, 1900 – 1907: Eating Fire, 18 Feb. – 29 May 2011; this exhibition later travelled to Barcelona, Museu Picasso, 30 June – 15 Oct. 2011.

Madrid, Museo Nacional del Prado, El Greco & la pintura moderna, 24 June – 5 Oct. 2014.

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Introduction Works from Picasso’s Rose Period are not only remarkably beautiful, but they are also extremely scarce on the market. They were painted during a brief period that began to take shape late in 1904 and ended some time in 1906.

These were years of both personal contentment and artistic innovation, falling chronologically between the melancholy Blue Period and the so-called “ProtoCubist” or “African” period, during which time Picasso painted the iconoclastic Les Demoiselles d’Avignon (Z.2,18; The Museum of Modern Art, New York). One of only two oil paintings related to Picasso’s unrealised group composition L’Abreuvoir (The Watering Place), and the only one remaining in private hands, Jeune Garçon nu à cheval is a rare and significant Rose Period painting. While living in the Bateau Lavoir, a Bohemian enclave in Montmartre, Picasso enjoyed the company of his fellow artists and writers, the beginnings of commercial success with the dealer Ambroise Vollard, and the love of his beautiful companion Fernande Olivier. With Fernande – the first of the artist’s great loves – acting as his muse, Picasso experienced one of the happiest periods of his life, and his mood is reflected in the tender and luminous works he produced. He took full advantage of his access to a wealth of inspiration, with the opportunity to see works by modern and contemporary artists in Vollard’s gallery and in the growing collection of his friends and patrons Leo and Gertrude Stein.

Picasso also wandered the corridors of the Louvre, admiring works by the old masters and studying a cache of recently-excavated Iberian antique stone heads. In Jeune Garçon nu à cheval, Picasso synthesised a number of these disparate influences, ranging from the South Pacific landscapes of Paul Gauguin and the weighty figures of Paul Cézanne to the heroic nude kouroi of preclassical Greek sculpture. The recent discovery of a Blue Period composition underneath the visible surface of this canvas, as well as the painting’s fascinating provenance, make Jeune Garçon nu à cheval a genuinely intriguing example of Picasso’s genius during this extremely fertile period in his early career.

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Picasso in Paris Pablo Picasso was just nineteen when he left Spain in October 1900, shortly after earning critical praise for his first exhibition in Barcelona. Together with his friend Carles Casagemas, the ambitious young painter set off for Paris, the vibrant and buzzing cultural capital of Europe. Picasso and Casagemas were immediately drawn to Montmartre, a hilly neighbourhood on the outskirts of Paris that was home to many members of the artistic avant-garde. Picasso soon made the acquaintance of the Catalan Pere Mañach, who made a living scouting new arrivals to the community of Spanish artists and promoting them to galleries in Montmartre. It was Mañach who engineered an introduction to the successful dealer Ambroise Vollard, who in turn arranged a joint exhibition for Picasso and the Basque painter Francisco Iturrino at his premises on the Rue Laffitte.

The exhibition at Vollard’s, which opened on 24 June 1901, attracted critical attention, and roughly half the works sold.

The year 1901 also witnessed a dramatic change in Picasso’s manner, and a new sobriety emerged shortly after the show at Vollard’s, marking the start of the artist’s sombre Blue Period. Picasso’s mournful mood was in large part prompted by the suicide of Casagemas in February 1901, while Picasso was in Madrid. As John Richardson writes, “Casegemas’s suicide literally coloured Picasso’s work” (J. Richardson, A Life of Picasso, vol. I: 1881-1906, London, 1991, p. 182). Picasso himself admitted to his biographer Pierre Daix: “It was thinking about Casagemas’s death that started me painting in blue” (quoted in P. Daix, La vie de peintre de Pablo Picasso, Paris, 1977, p. 47). In late spring 1904, Picasso and his Spanish friend Sebastià Junyer Vidal moved to a studio in the Bateau Lavoir, taking over the premises from the Basque sculptor Paco Durrio, who was moving. Durrio took with him not only his collection of works by his friend Paul Gauguin (abandoned when Gauguin departed for Tahiti) but also all of the furniture, apart from the bed, which Junyer Vidal claimed for himself as he 2.

was paying the rent: 15 francs a month. Picasso was obliged to sleep on a rug

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The Bateau Lavoir

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on the floor. Fortunately, Junyer Vidal returned to Barcelona

were poor. They leave behind the best of themselves in the

after just a few weeks at the Bateau Lavoir, leaving Picasso

places where their life was such a struggle, a struggle so

with the studio to himself. Having at this point made three

essential to their artistic development (Journal of Fernande

previous trips to Paris, Picasso finally had a permanent home

Olivier, Autumn 1909; quoted in M. McCully ed., Loving Picasso,

in Montmartre.

New York, 2001, p. 251).

The Bateau Lavoir was nicknamed for its resemblance to one

It would be difficult to overstate the importance of the Bateau

of the dirty, creaking washing-boats moored on the nearby

Lavoir as a vital centre of artistic activity. As Peter Read has

Seine. Situated at no. 13 Rue Ravignan (on Place Ravignan,

observed, the “new sense of community, centred on his studio,

now Place Émile Goudeau), this ramshackle building became

helped Picasso break away from increasingly dated bohemian

the residence and unofficial clubhouse of a number of

nostalgia and reconnect with the trail-blazing spirit which had

Bohemian artists, authors and art dealers. Over the years, it

brought him to Paris in the first place” (P. Read, “All Fields

served as home to Juan Gris, Max Jacob, Kees van Dongen,

of Knowledge”, in Eating Fire: Picasso in Paris, 1900 – 1907,

Amedeo Modigliani (briefly) and many others. The time

exh. cat. 2011, p. 158). The Bateau Lavoir not only witnessed

Picasso spent living in the Bateau Lavoir represented a happy

some of Picasso’s greatest early masterpieces, but it was also

and productive era. Though he was still struggling financially,

instrumental in bringing about the first of his great love affairs.

he was surrounded by friends and painting daily in a fever of creativity and inspiration. As Fernande later observed: “It is certainly true, as people often say, that once artists become successful they look back with regret on the days when they

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“La Belle Fernande”

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“I think that yesterday I may have embarked on another stupid adventure...”

(Journal of Fernande Olivier, August 1904).

Born Amélie Lang, Picasso’s model and muse Fernande Olivier is immortalised in his paintings, drawings and sculptures, created during the course of their passionate and tempestuous relationship. Much of our knowledge of this period in Picasso’s life comes from Fernande’s memoirs, excerpts first published as Picasso et ses amis in 1933. (Many years later, long after Picasso and Fernande had separated, he referred to her memoirs as “the only really authentic picture of the Bateau Lavoir years”; quoted in op. cit., p. 283). Fernande, who was staying with friends at the time of Picasso’s arrival, described the Bateau Lavoir in colourful terms: “It’s a weird, squalid building echoing from morning to night with every kind of noise: discussion, singing, shouting, calling, the sound of 8.

buckets used to empty the toilet clattering noisily on the floor, the sound of pitchers placed noisily on the grill below the faucet, doors slammed, suggestive moaning coming through the closed doors of the studios, which have no walls except the partitions dividing them, laughter, tears; you can hear everything.

Everything echoes around the building and no one has any inhibitions.” (Journal of Fernande Olivier, Autumn 1900; quoted in op. cit., p. 82). Fernande herself was an acknowledged beauty, described by Richardson as having “a mass of reddish hair, green, almond-shaped eyes...for all that she was indolent, selfindulgent and promiscuous, she was also beguiling, easy-going and affectionate” (J. Richardson, op. cit., vol. I, p. 310).

Having observed one another coming and going in the hallways for several months, Fernande and Picasso finally met in August 1904, when they both rushed to seek shelter indoors during a sudden thunderstorm. Picasso invited Fernande to visit his studio, and she recalled her initial impression: “His paintings are astonishing.

I find something morbid in them, which is quite disturbing, but I also feel drawn to them.” (Journal of Fernande Olivier, August 1904; quoted in op. cit., p. 139).

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Picasso, for his part, was smitten with Fernande from their

nine. Pablo watches me, draws, works at

first meeting, commemorating the encounter in an explicit

night and goes to bed at around six in the

drawing titled Les Amants (The Lovers) (August 1904; Z.22,104;

morning. As he’s in the habit of working

Musée national Picasso, Paris). Although it would be another

at night so as not to be disturbed, and he’s

year before she moved in with him, Fernande was as drawn

at his best at night, he complains about my

to the artist as she was to his paintings, and continued to visit

sleeping all the time. It’s true, I’m going to

him regularly. She moved into Picasso’s studio on 3 September

have to adapt so that I can be a little closer

1905, and the couple remained together until mutual jealousy

to Pablo when he’s ‘awake’!” (Journal of

led to a split in 1912. Fernande was soon as much in love with

Fernande Olivier, Autumn 1905; quoted in

Picasso as he with her – this, at last, was true love, despite

op. cit., p. 161)

the impoverished lifestyle and humble surroundings – and she wrote not long after moving into the studio:

There are a number of very intimate drawings of Fernande asleep, some of which include Picasso’s own figure watching

“I feel as though I’m beginning to live

her, as well as additional drawings of lovers such as Amoureux

my real life. Pablo loves me. I sleep a lot;

(Lovers) (fig. 13, c. 1905, PP.05,223; Private Collection).

I’ve been used to going to bed early after my tiring days, so I still fall asleep around

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Kees van Dongen Picasso and Fernande had an active social life in the Bateau Lavoir, and Fernande’s memoirs are filled with recollections about their many friends and acquaintances. One such friend was the Dutch painter Kees van Dongen, who moved into the Bateau Lavoir in December 1905 with his wife Guus and their young daughter Dolly. The Van Dongen family remained for just over a year, until early in 1907. Fernande described the early days of the friendship in her journal:

“We’ve got to know a Dutch artist, Kees van Dongen, who moved into the building with his wife and child around Christmas. They’re very hospitable, as his wife likes to be surrounded by friends... He spends his evenings sketching in the local dancehalls and cafés and is becoming steeped in the life of Montmartre. Their little girl, who must be about two, calls Picasso ‘Tablo’ and spends her days with us.” (Journal of Fernande 15.

Olivier, February/March 1906; quoted in op. cit., p. 174)

Like Picasso, Van Dongen found a muse in Fernande, recalling, irreverently, “elle était jolie fille et que j’avais sous la main, sans bourse délier” (“she was a pretty girl who was at hand, and I didn’t even have to pay her”; quoted in L. Chaumeil, Van Dongen, Geneva, 1977, p. 96). The exact nature of the relationship between Van Dongen and Fernande remains uncertain. Van Dongen exhibited a number of portraits of Fernande, both clothed and nude, in 1908 at both the Kahnweiler and Bernheim-Jeune galleries. Dolly van Dongen believed these to have been painted at her father’s studio on Rue Lamarck, in late 1907 or early 1908, where he worked after his departure from the Bateau Lavoir. Assuming this date is correct, the paintings would have been executed around the same time as Picasso’s monumental 1907 canvas Les Demoiselles d’Avignon. Picasso and Fernande had briefly separated, and she had moved out of his studio, having realised with dismay that his passion for his art overshadowed his feelings towards her. Pierre Daix suggested that Fernande may have posed for Van Dongen out of spite, though Richardson remains unsure, observing only that Fernande resented Picasso’s obsession with the Demoiselles, notably absent from her memoirs (P. Daix, Picasso: Life and Art, New York, 1993, p. 71; and J. Richardson, A Life of Picasso, vol. II: 1907 – 1917, London, 1996, p. 20).

Sometime around 1906, Picasso and Van Dongen exchanged paintings, with Picasso giving Van Dongen Jeune Garçon nu à cheval in exchange for a landscape entitled La Vigne (fig. 16, 1905; Musée national Picasso, Paris). Van Dongen held on to Picasso’s picture for over 40 years. It can be seen hanging on the wall in a lithograph of Picasso in his Studio, one of a series of illustrations by Van Dongen for French author Roland Dorgelès’ colourful 1949 memoir of life in Montmartre, Au beau temps de la butte (fig. 17). Two other lithographs in the series are dedicated to Picasso and Fernande. dickinson

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The Rose Period Describing Picasso’s manner in the summer of 1904,

in different roles: the self-dramatizing role of a saltimbanque,

Richardson writes: “Little by little the blue light that had

strolling player or circus performer, the picturesque outcast

permeated Picasso’s paintings for the last two years began to

at odds with conventional society; or the more equivocal role

lose its chill. Certain pictures are still excessively, exclusively

of harlequin, the player of tricks that alarm and mystify as

blue. But even that quintessential image of the Blue Period

well as entertain” (J. Richardson. op. cit. vol. I, p. 334). Many

...Woman with Helmet of Hair (1904; Z.I,233, Art Institute of

of Picasso’s renderings of saltimbanques and harlequins find

Chicago), with her indigo chignon and ice-blue skin, has

parallels in poems by Apollinaire, who was equally fascinated

lips of palest pink. Flesh tones become ruddier, and by the

by these poetic marginal figures. Picasso “saw in the patterns

middle of the summer there are even reddish backgrounds”

of their itinerant lives a parallel with the experience of the

(J. Richardson. op. cit. vol. I, p. 302). Though it is impossible

struggling artist, living on the margins of society and surviving

to draw definite boundaries between the various stages in

through art” (M. McCully, op. cit. p. 147). In images such as

Picasso’s artistic evolution, the ensuing change in his work is

Arlequin à cheval (Harlequin on a horse) (fig. 19, 1905; Z.1,423,

popularly known as the Rose Period, on account of the pink

Private Collection), the figure of a young harlequin riding a

hue that dominates many of his compositions. While the Blue

horse can be seen as a precursor to Jeune Garçon nu à cheval.

Period is characterised by themes of loneliness and isolation, the Rose Period works – thanks to Picasso’s newly confident

The other significant event of this period was the exhibition

outlook, with improving career prospects and a devoted

that took place between 25 February and 6 March, 1905 at

companion – show elements of lightness and optimism.

the Galeries Serrurier, 37 Boulevard Haussmann, organised

(Richardson notes an underlying darkness as well, in the

by the author Charles Morice. Picasso showed 28 paintings

tubercular flush of pink that suffuses the cheeks of Picasso’s

and drawings, including eight saltimbanques compositions, five

slender figures; J. Richardson. op. cit. vol. I, p. 345). New

prints, and a sketchbook. It was the first time since Vollard’s

subjects emerged, with Picasso’s imagination stimulated by the

show in 1901 that Picasso had been given a chance to exhibit a

company of a new friend, the poet, author and critic Guillaume

substantial number of new works, and his elegant and evocative

Apollinaire. (The exact date of their first meeting is recorded

images of saltimbanques and harlequins drew the attention of

by Richardson as 25 October 1904; J. Richardson. op. cit. vol. I,

both critics and the general public.

p. 327). Apollinaire “encouraged [Picasso] to picture himself

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Jeune Garçon nu à cheval, 1906

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The Watering Place (1906)

The paintings, drawings and prints associated with Picasso’s plan for a composition subsequently called The Watering Place continued to build on the tradition that began with the saltimbanques and harlequins. The Watering Place may well have been planned as a monumental set-piece for the 1906 Salon d’Automne in Paris, although this large-scale work was never realised. Our understanding of Picasso’s original intention comes from a number of paintings and drawings in which he attempted to work out his initial ideas for the arrangement of the composition. A majority of the works relating to The Watering Place are on paper supports, and Jeune Garçon nu à cheval is a rare example painted in oil on canvas. The figure of the boy on the horse appears at the far right in a smaller group composition, also called The Watering Place, (fig. 22, 1905-06, Z.1,265; The Metropolitan Museum of Art, New York) and this gives us some idea of its intended position within the planned, large-scale painting. In comparison to this version of The Watering Place, Jeune Garçon nu à cheval is more highly resolved in the figure of the horse, with some of the roundness of its body and musculature very subtly described by a range of reddish-brown hues. The figure of the rider in both paintings is unarticulated, his shape defined by dark contours. Moreover, while the horse in our picture is evidently bending down to drink, there is no indication of a landscape setting or of the watering place itself: the only hint of a background is suggested by the reddish, earthy wash of colour in the lower half of the painting, and a greyish-blue hue, suggesting sky, brushed across the upper half. There is also a watercolour related to this figure, Le Jeune Cavalier (The Young Rider) (fig. 30, 1906, Z.6,683; Private Collection). In addition to having its roots in the many depictions of horses and riders from 1905, Picasso’s vision for The Watering Place drew on a number of modern and antique sources, ranging from paintings by Gauguin and Cézanne to preclassical Greek kouroi and Iberian heads.

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The Watering Place Series

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Picasso and Gauguin

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“Good artists copy, great artists steal” Pablo Picasso

In 1902, Paul Gauguin painted two canvases entitled Cavaliers sur la plage (Riders on the Beach), both scenes of bareback riders on the beach in Hivaoa, in the Marquesas (fig. 33, W.619; Folkwang Museum, Essen; and fig. 31, W.620; Private Collection). The natives of the Marquesas held regular bareback races on the beaches at Hivaoa, where the sand was coloured a vivid rose hue by the crushed coral. Vollard sold the smaller painting (W.619) to the German collector Karl Ernst Osthaus in February 1904, along with two other paintings by Gauguin. Vollard’s inventory book for June 1904 – December 1907 lists Gauguin’s “Indigines et cheval en liberté Paysage de Tahiti”, with measurements corresponding to the larger of the two works (W.620), at a cost of 200F (fig. 34, Vollard Archives, Musée d’Orsay, Paris, MS 421 [4,5], fol. 8). Both pictures were included by Vollard in an exhibition of Gauguin’s work held in Paris in November 1903 (nos. 39 and 42), six months after Gauguin’s death in Tahiti. Picasso may well have seen them later at Vollard’s gallery.

The similarities between Gauguin’s two paintings and the gouache version of The Watering Place are revealing. Picasso’s rearing figure in the left distance finds a counterpart, in reverse, in each of Gauguin’s compositions. There is also a similar rider with his back turned to the viewer (depicted shirtless by Gauguin in both paintings, and nude by Picasso). The figures of the boy and horse in Jeune Garçon nu à cheval relate to a similar pair in the right foreground of W.620. Picasso shares Gauguin’s rosy palette and undefined, dreamlike setting, although, rather than a Marquesan beach, his landscape evokes an arid terrain vague similar to that of his saltimbanques pictures. Gauguin was, in turn, influenced by Edgar Degas’ racing scenes of the 1860s and 1870s, particularly a pastel owned by Paul Durand-Ruel entitled Avant la course (Before the Race), in which the three central figures on horseback inspired Gauguin’s own riders (fig.

32, 1894, L.1145; Carmen Thyssen-Bornemisza Collection, on deposit at the Museo ThyssenBornemisza, Madrid).

Picasso may also have known examples of Gauguin’s works on paper, sent from Tahiti to Vollard in Paris in the winter and early spring of 1900. In both the suite of 14 woodcuts and among the 10 oil transfer drawings that followed shortly thereafter, Gauguin included versions of his composition Changement de résidence (Change of Residence), which again featured

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a horse and rider. This was a theme he continued to explore

Gauguin’s descriptions in Noa Noa of the colours of the

in the years prior to his death (see, for example, Changement de

landscape are vividly evocative: “The landscape with its violent,

résidence (Change of Residence), figs. 40 a-b, 1901-02; The Museum

pure colours dazzled and blinded me ... it was so simple to

of Modern Art, New York). This composition can be related

paint things as I saw them; to put without special calculation

to Picasso’s drypoint print of The Watering Place (fig. 23, 1906,

a red close to a blue. Golden figures in the brooks and on

published 1913; Bloch 8).

the seashore enchanted me” (P. Gauguin, Noa Noa, O.F. Theis trans., New York, 1985, p. 12). And Picasso was also fascinated

Later on, Picasso himself owned a copy of Noa Noa, Gauguin’s

by Gauguin’s descriptions of mahus, androgynous male

journal of his time in Tahiti. He was given the work by Charles

Tahitians who dressed as women and undertook traditionally

Morice, author of Gauguin’s biography, who added his own

female roles. In Tahiti, wrote Gauguin, “there is something

commentaries to Gauguin’s text. Picasso in turn embellished

virile in the women and something feminine in the men”.

his copy of Noa Noa with sketches, and his son Claude

For Gauguin, mahus symbolised the enigma and mysticism of

Picasso many years later recalled seeing the book bound in

sexuality (J. Richardson, op. cit., vol. I, p. 340). Their appearance

an elaborate bejewelled cover. Although this embellished

in Gauguin’s paintings, suggests Richardson, may have inspired

copy has since disappeared, it emphasises the degree to which

Picasso’s own androgynous figures, slim, youthful and often

Picasso identified with Gauguin – to the extent that he even,

without hair, such as the rider depicted in Jeune Garçon nu à

in December 1903, had signed a Gauguin-esque drawing of a

cheval.

female nude, Femme nue de profil: Hommage à Gauguin, as “Paul Picasso” (fig. 38, Z.6,564; Private Collection).

Yet another one of Gauguin’s works that fundamentally inspired Picasso during the Rose Period was the Oviri sculpture, which Picasso saw in the 1906 Gauguin retrospective at the Salon d’Automne, although he may already have seen it at Vollard’s (fig. 35, 1894, Gray 113; Musée d’Orsay, Paris). This macabre stoneware sculpture was originally intended for Gauguin’s own tomb. The name “oviri” translates as savage, and in Tahitian culture the god Oviri-moe-’aiihere is the deity of death and mourning. In his biography of Gauguin, David Sweetman credits the Oviri with “[stimulating] Picasso’s interest in both sculpture and ceramics, while the woodcuts [reinforced] his interest in print-making, though it was the element of the primitive in all of them which most conditioned the direction that Picasso’s art would take.” The Oviri may have inspired sculptures such as Femme se coiffant (Woman Combing her Hair), a large stoneware image (eventually cast in bronze) of Fernande combing her long hair (fig. 36, 1906, Z.1,329; Private Collection). Picasso sculpted this work in Durrio’s new studio, 41.

where Durrio kept his many Gauguins, and fired it in his kiln.

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Other Modern and Contemporary Influences Gauguin was not the only modern source from whom Picasso drew inspiration. During his Blue Period he had been a passionate admirer of Vincent van Gogh, but his interest had since waned.

During the ensuing years, Picasso developed a growing interest in the work of Paul Cézanne, whose impact later led Picasso to declare him “my one and only master”. Indeed, his admiration at the time was such that Picasso threatened anyone who spoke against Cézanne’s art with the revolver he always carried, declaring ominously: “One more word and I fire”. Cézanne’s watercolour Homme auprès d’une femme nue, which depicts a man observing a reclining female nude, can be compared to Picasso’s drawings of lovers. It originally belonged to Vollard (fig. 10, 1867-70; R.31, Private Collection, USA). Cézanne had returned repeatedly to the theme of bathers in a landscape; of the 33 paintings he exhibited at the 1904 Salon d’Automne, for instance, four dealt with this subject.

Clearly Cézanne’s large-scale, weighty nudes, arranged frieze-like in an indistinct Arcadian landscape, resonated with Picasso. Like Picasso’s figures for The Watering Place, Cézanne’s male bathers are seen from both the front and back, while his painting Le Grand Baigneur (The Bather) (1885; R.2.555, The Museum of Modern Art, New York) represents a striding, nude male figure, which anticipates Picasso’s Meneur nu à cheval (Boy Leading a Horse), (fig.

24, 1905-06; Z.1.264, The Museum of Modern Art, New York).

Also of influence were the classicising compositions of the nineteenth-century painter and muralist Pierre Puvis de Chavannes, who continued to enjoy an elevated reputation among modern artists even after his death in 1898. Puvis’s compositions, like those of Picasso himself, place an emphasis on expressive gesture rather than depending on an explicitly staged narrative.

Richardson observes in Picasso’s work of 1905-06 a tendency to “[emulate] the dry, matt surfaces that Puvis favoured – even when he was not doing frescoes – also his restrained use of cool, pale colours with very little modelling or chiaroscuro”; and he continues “The extent of Picasso’s debt to Puvis emerges in

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Pablo Picasso

Jeune Garçon nu à cheval, 1906

42.

43.

the preparatory sketches for his next project: an ambitious,

1906; quoted in op. cit., p. 180). Among the many works the

never-to-be-executed composition known as The Watering Place

Steins purchased was Meneur nu à cheval, which Leo called one

(early 1906) – naked boys and wild horses on the bleak slopes

of the “best things of the period” (quoted in J. Bishop, op. cit.,

familiar to us from The Saltimbanques” (J. Richardson, op. cit.,

p. 35).

vol. I, p. 424).

One ongoing source of inspiration was the Stein collection.

The Impact of El Greco

Picasso owed a great deal to the siblings, who enthusiastically

Picasso also drew inspiration from works by the old masters.

bought his paintings. Leo Stein declared Picasso “a genius of

Among his favourites was the sixteenth century painter

very considerable magnitude and one of the most notable

Doménikos Theotokópoulos, known as El Greco, who was

draughtsmen living” (Stein to Mabel Weeks, 29 November

also admired by Cézanne and Manet, among others. In the

1905, quoted in J. Bishop et al, eds., The Steins Collect, exh. cat.,

catalogue for the recent exhibition El Greco y la pintura moderna,

2011, p. 35). He was struck by the artist’s intensity and focus:

in which Jeune Garçon nu à cheval was included, Javier Barón

“When Picasso had looked at a drawing or print, I was surprised

pointed out similarities between Jeune Garçon nu à cheval and El

that there was anything left on the paper, so absorbing was his

Greco’s San Martín y el mendigo (Saint Martin and the Beggar) of

gaze. He spoke little and seemed neither remote nor intimate –

more than three centuries earlier (fig. 45, 1597-99; Wethey 18,

just completely there ... He seemed more real than most people

National Gallery of Art, Washington, D.C.). Barón observed

while doing nothing about it” (quoted in J. Richardson, op. cit.

that Picasso could have studied El Greco’s masterpiece either

p. 398). In addition to their patronage, the Steins welcomed

in the chapel of San José in Toledo, where it hung until 1907,

Picasso and Fernande into their home, where the artist had the

or illustrated in a booklet of reproductions after paintings by

opportunity to study their expanding collection of modern and

El Greco, published by Maurice Utrillo in 1905 (J. Barón, “La

contemporary art. Fernande recalled: “We’ve become regular

influencia del Greco en la pintura moderna, del siglo XIX

visitors to the Steins and often take our friends to the Saturday

a la Difusión del Cubismo”, in El Greco y la pintura moderna,

evenings they hold in their little house and studio ... They have

exh. cat. Madrid, 2014, p. 162). Richardson notes that Picasso

a wonderful collection of paintings: Gauguins ... Cézannes ... a

also had El Greco’s masterpiece in mind when he painted

small Manet ... an El Greco, some Renoirs ... two fine Matisses,

the Meneur nu à cheval, and was looking specifically at the

one Vallotton ... some Manguins, some Puys; and now Picasso

satisfactory resolution of the six clustered legs, two human

has joined this throng” (Journal of Fernande Olivier, Spring

and four equine.

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Pablo Picasso

Jeune Garçon nu à cheval, 1906

44.

45.

Iberian and Preclassical Greek sculpture Picasso reached even further back in his ongoing quest for sources of inspiration, and the paintings and drawings from this period reflect his interests in both Iberian and preclassical Greek sculpture, familiar from his explorations of the Louvre. Two kouroi, free-standing figures of nude male youths, had been on display at the Louvre since their 1874 excavation in the Temple of Apollo at Actium. A turn-of-the-century preoccupation with archaeological expeditions led to a significant European re-evaluation of preclassical Greek art. Paintings such as Meneur nu à cheval were directly inspired by the upright stride of the Louvre kouroi, and the youth in Jeune Garçon nu à cheval follows in the tradition of the classical nude, stripped of any costume that would identify him as a harlequin or saltimbanque.

Early in 1906, the year Jeune Garçon nu à cheval was painted, the Louvre held an exhibition of ancient Iberian sculpture recently excavated at Osuna in Andalusia (near Picasso’s native Málaga) and Cerro de los Santos in Albacete. Picasso was fascinated, and distinctly Iberian elements began appearing in his figures. Some qualities are visible in paintings such as the Meneur nu à cheval, including the heavy-lidded eyes and strongly-defined brow, but they are even more apparent in Picasso’s sculptures. Fernande’s memoirs describe some works the artist sold to Vollard the following year, listing: “an unfinished, roughly modelled bust of a woman; a fool’s head with a cap and bells; and the head of a Spanish bullfighter with a broken nose, a work of powerful intensity that was full of life. Picasso’s sculptures combine technical brilliance with great humanity, and it is a pity he did not do more” (Journal of Fernande Olivier, Autumn 1907; quoted in op. cit., p. 199). The “powerful intensity” that Fernande recognised in sculptures such as the Tête de picador au nez cassé (Bullfighter with a Broken Nose) (fig. 49, 1903; PP.03,255, Private Collection) is a quality shared by both the Iberian heads and also sculptures made by Gauguin’s friend Paco Durrio.

Picasso’s enthusiasm for antiquities subsequently embroiled him in a scandal. Early in March of 1907, a young Belgian called Géry Pieret, an associate of Picasso’s friend Apollinaire, discovered that one of the antiquities galleries in the Louvre was left unguarded. It proved no difficulty whatsoever to remove two Iberian heads, which he concealed under his coat before exiting the museum. These were sold to Picasso for a small sum. Whether or not Picasso realised that he was purchasing stolen goods remains uncertain, although it is curious that his new acquaintance had taken the exact objects that had captured Picasso’s interest. When, in August 1911, Pieret’s trail led the police to Picasso and Apollinaire, the two expressed their contrition and were let off with a warning by the authorities. In the years between 1907 and 1911 when the Iberian heads were in Picasso’s possession, they continued to exert their influence.

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Jeune Garçon nu à cheval, 1906

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47.

48.

49.

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Picasso’s Use of Old Canvases Picasso had been recycling old canvases since his arrival in

the Duke of Wellington’s Regiment during the First World

Paris, not only for the sake of economy, but also to mark a

War, he had opened his own fashion house in Paris in 1919.

deliberate departure from his earlier manner. For example, a

Molyneux, himself a painter, amassed a considerable collection

recent scientific examination of the artist’s early masterpiece

of Impressionist paintings, most of which are now in the

Le Tub (The Blue Room) (fig. 50, 1901; Z.1,103, The Phillips

collection of the National Gallery of Art, Washington, D.C.,

Collection, Washington, D.C.) has revealed, underneath the

although Jeune Garçon nu à cheval was sold around 1950. In 1957,

surface, a portrait of an unknown man. Picasso took a number

Jeune Garçon nu à cheval was purchased by the British financier

of unresolved works with him when he moved to the Bateau

Sir Charles Clore (1904 – 1979), after whom the Clore Gallery

Lavoir, one of which served as the ground for Jeune Garçon nu

at Tate Britain is named. It houses the world’s largest collection

à cheval. The earlier composition is revealed in an x-radiograph

of works by J.M.W. Turner. In addition to Jeune Garçon nu à

image as a man and a woman. A number of features establish

cheval and several other works by Picasso, Clore’s substantial

a close stylistic link between this ghostly image and works

collection of Impressionist and Modern art included paintings

such as Arlequin accoudé, (Seated Harlequin) (1901; Z.I:79, The

by Renoir and Modigliani.

Metropolitan Museum of Art, New York): the dominant contour lines; thin, tightly-pressed lips of the figures; and what appears to be a skullcap worn by the man. It is difficult to discern the setting, and unclear whether the canvas support is a fragment cut down from a larger composition. In 1905, Fernande observed: “The paintings he’s doing are quite different from those I saw when I first came to the studio last summer, and he’s painting over many of those canvases ... he never seems to be satisfied with his work and is constantly reworking pictures.” (Journal of Fernande Olivier, Autumn 1905; op. cit., p. 162).

Later Provenance Jeune Garçon nu à cheval is additionally notable for having passed through two interesting collections in its history. Sometime around 1948, Jeune Garçon nu à cheval was acquired by the leading British fashion designer Edward Molyneux (1891 – 1974), probably purchased from the Gallery Charpentier in Paris. After attaining the rank of Captain while serving in

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Jeune Garçon nu à cheval, 1906

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Conclusion The unexpected income from Vollard’s purchase of 27 works in May 1906 allowed Picasso and Fernande to spend nearly a full three months of the summer in Spain. After passing through Barcelona, they arrived in Gósol, a remote village in the Pyrenees near Andorra. Here, the rosy hue of the Paris paintings evolved into a rustier, reddish tone, inspired by the red earth of Gósol. The red or pink tones used for the figures began to spread outwards, permeating the backgrounds, thus blurring the distinction of objects in space. A constant artistic exploration is characteristic of Picasso’s genius, and it confounds most attempts to define different stages in his career. What is clear is that the body of work executed in Paris between late 1904 and early 1906 shows how Picasso absorbed and responded to a diverse range of stimuli, including the work of other artists, and the vibrant and creatively fertile artistic environment of the Bateau Lavoir. Within this brief Rose Period, Jeune Garçon nu à cheval is significant as a stylistic link between the better-known harlequins and the revolutionary paintings to come.

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List of Plates Picasso in Paris 1. Picasso on the Place Ravignan, 1904 Musée national Picasso, Paris 2. Self-portrait photograph of Picasso in his new studio on Boulevard de Clichy, 1909 Musée national Picasso, Paris

The Bateau Lavoir 3. Roofs of the Bateau Lavoir with the location of Picasso’s studio marked by the artist Musée national Picasso, Paris 4. The Bateau Lavoir studios on Rue Ravignan 5. Kees van Dongen Le Bateau Lavoir au bistrot At the table: Picasso and Fernande Olivier, the sculptor Manolo (from the back); Behind and to the right: Guillaume Apollinaire and Max Jacob; Seated to the left: Kees van Dongen. lithograph illustration from the book Au Beau Temps de la Butte, 1949 19 x 14 cm.

Private Collection

“La Belle Fernande” 6. Fernande Olivier, photographed by Picasso, c. 1908 7. Pablo Picasso Portrait of Fernande Olivier, 1906 drypoint on copper (ed. 4) 16.2 x 11.8 cm.

Musée national Picasso, Paris

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Pablo Picasso

Jeune Garçon nu à cheval, 1906

8. Pablo Picasso La Belle Fernande, 1906 Signed upper left Picasso pen and black ink on buff paper 17.1 x 12.1 cm.

Private Collection 9. Pablo Picasso Nu avec chat, 1905 pen and ink on paper 14.1 x 8.75 cm.

Private Collection 10. Paul Cézanne Homme auprès d’une femme nue, 1867-70 gouache, watercolour, pen and brown ink and pencil on paper 10.2 x 17.1 cm.

Private Collection 11. Pablo Picasso L’étreinte, 1906 zinc etching 17.6 x 23.5 cm.

Národni Galerie, Prague 12. Pablo Picasso Nu debout signed lower left Picasso pencil on paper laid down on paper 17.1 x 11.7 cm.

Private Collection 13. Pablo Picasso Amoureux, c. 1905 signed, dated and inscribed lower left Picasso 7 Juillet 1908 Pour le 33 anniversere amicalement watercolour, pen and india ink, brush and grey wash on paper 36.9 x 26.8 cm.

Private Collection

Kees van Dongen 14. Kees van Dongen Fernande Olivier ou l’espagnole, 1905-06 signed lower right Van Dongen oil on canvas 91 x 72 cm.

Private Collection 15. Kees van Dongen Fernande Olivier, 1952 lithograph (ed. 75) 46 x 41 cm.

Private Collection 16. Kees van Dongen La Vigne, 1905 signed upper right V.D., and inscribed on the reverse 05 Kees Van Dongen, La Vigne oil on canvas 46 x 55 cm.

Musée national Picasso, Paris 17. Kees van Dongen Picasso dans son atelier au Bateau Lavoir, 1906 lithograph illustration from the book Au Beau Temps de la Butte, 1949 19 x 14 cm.

Private Collection

The Rose Period 18. Pablo Picasso Saltimbanque et jeune fille, 1905 watercolour and charcoal on paper laid on card 29.5 x 19.5 cm Private Collection

19. Pablo Picasso Étude pour ‘Arlequin à cheval’, 1905 signed upper right Picasso watercolour, pen and black ink on paper 22.1 x 12.6 cm.

Private Collection 20. Pablo Picasso Le Saltimbanque au repos, 1905 signed lower right Picasso drypoint 12 x 8.5 cm.

Private Collection 21. Pablo Picasso Jeune Acrobat et singe, 1905 inscribed, upper left and right: Catalogue, Invitation inscribed, lower left: Acuarelles; Monsieur - Max Jacob – pen and ink with watercolour on paper 45 x 35 cm.

Private Collection

The Watering Place (1906) 22. Pablo Picasso The Watering Place, 1906 gouache on cardboard 38.1 x 57.8 cm.

The Metropolitan Museum of Art, New York © 2014 Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence 23. Pablo Picasso L’Abreuvoir (Chevaux au bain), 1906 drypoint on wove paper 12.1 x 20 cm.

Private Collection

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24. Pablo Picasso Meneur nu à cheval, 1905-06 oil on canvas 220.6 x 131.2 cm.

The Museum of Modern Art, New York 25. Pablo Picasso Cavalier, 1906 signed lower right Picasso pencil on paper 47 x 26.7 cm.

Private Collection 26. Pablo Picasso Meneur nu à cheval, Paris, 1905-06 watercolour on wove paper 50.2 x 33 cm.

Baltimore Museum of Art, Cone Collection 27. Pablo Picasso Jeune Homme et cheval, 1906/1914 signed lower left Picasso charcoal on grey paper 46.6 x 30.4 cm.

Private Collection 28. Pablo Picasso Cheval avec jeune homme en bleu, 1905-06 watercolour and gouache on paper 49.8 x 32.1 cm.

Tate, London 29. Pablo Picasso Étude pour L’Abreuvoir (Chevaux au bain), 1906 charcoal on paper 29.5 x 45.7 cm.

Private Collection 30. Pablo Picasso Le Jeune cavalier, 1906 signed lower right Picasso watercolour on paper 44 x 30 cm.

Private Collection, Zurich

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Pablo Picasso

Picasso and Gauguin 31. Paul Gauguin Cavaliers sur la plage (II), 1902 oil on canvas 73 x 92 cm.

Private Collection 32. Edgar Degas Racehorses in a Landscape, 1894 signed and dated lower left Degas/94 pastel on tracing paper 48.9 x 62.8 cm.

Carmen Thyssen-Bornemisza Collection, on loan to the Museo Thyssen-Bornemisza, Madrid 33. Paul Gauguin Cavaliers sur la plage (I), 1902 oil on canvas 66 x 76 cm.

Folkwang Museum, Essen 34. Page for June 1904 - December 1907 from Vollard’s Stockbook B, listing Paul Gauguin’s “Indigenes et cheval en liberté, Paysage de Tahiti” (Cavaliers sur la plage (II), W.620) Vollard Archives, Musée d’Orsay, Paris, MS 421 (4,5), fol. 8 35. Paul Gauguin Oviri, 1894 stoneware 75 x 19 x 27 cm.

Musée d’Orsay, Paris 36. Pablo Picasso Femme se coiffant, 1906 bronze 42.2 x 26 x 31.8 cm.

Museum Ludwig, Cologne 37. Paul Gauguin Tête de femme tahitienne, c. 1892 indistinctly signed with monogram lower right PGO carved wood 19 cm.

Private Collection

Jeune Garçon nu à cheval, 1906

38. Pablo Picasso Hommage à Gauguin, 1902 signed and dated lower left Paul Picasso/1903/Decembre; and further inscribed upper left 003 conté crayon and charcoal on paper 24 x 16 cm.

Private Collection 39. Pablo Picasso Autoportrait au bras levé, 1902 pencil on paper 27.5 x 20.2 cm.

Private Collection 40 a. / b. Paul Gauguin Changement de résidence, 1902 (recto/verso) graphite and red crayon; oil transfer drawing on paper 37.9 x 54.9 cm.

Private Collection 41. Paul Gauguin Noa Noa (Paris, 1901)

Other Modern and Contemporary Influences 42. Paul Cézanne Baigneuse, 1873-77 pencil on paper 12.4 x 6.5 cm.

Private Collection, Switzerland 43. Pablo Picasso Femme nue se coiffant, 1906 signed lower right Picasso brush and red ink and red wash on paper 41 x 26.5 cm.

Private Collection

The Impact of El Greco 44. Pierre Puvis de Chavannes Etude pour “Charles Martel, vainqueur des Sarrasins”, c. 1870-75 black pencil, ink, wash, heightened with white gouache on paper 28.5 x 39 cm.

Private Collection

45. El Greco San Martín y el mendigo, 1597-99 oil on canvas 193.5 x 103 cm.

National Gallery of Art, Washington, D.C. Courtesy National Gallery of Art, Washington

Iberian and Preclassical Greek Sculpture 46. Greek Torso of a Kouros, c. 550 B.C. marble 100 cm.

Musée du Louvre, Paris 47. Francisco (“Paco”) Durrio Head of a Youth or Head of an Inca, early 20th century glazed stoneware 30.6 x 16.5 x 18.7 cm.

Museo de Bellas Artes, Bilbao © Bilboko Arte Ederren Maseba, Museo des Bellas Artos de Bilbao 48. Iberian Peninsula, probably Portugal Head of a Young Man, First half 12th century granite 19.5 x 12 x 19 cm.

Private Collection 49. Pablo Picasso Tête de picador au nez cassé, 1903 plaster 19 x 14.5 x 12 cm.

Private Collection

Picasso’s use of Old Canvases 50. Pablo Picasso Seated Harlequin, 1901 signed and dated lower left Picasso 1901 oil on canvas 83.2 x 61.3 cm.

The Metropolitan Museum of Art, New York © 2014 Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence 51. X-ray of Jeune Garçon nu à cheval

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Acknowledgements D i c k i n s on w ou l d l i k e t o e x pre s s ou r g r at itu d e t o a l l t h e l e n d e r s of w or k s of a r t , m o s t of w h om h av e c h o s e n t o re m a i n a n ony m ou s . Wit h out t h e i r t r u s t a n d c o - op e r at i on t h i s proj e c t w ou l d n e v e r h av e b e e n re a l i s e d .

We a re s i n c e re l y g r at e f u l t o Ma r i l y n Mc Cu l l y, w h o s e e x p e r t i s e h a s m a d e t h i s proj e c t p o s s i b l e .

E d i t e d by : Ma r i l y n Mc Cu l l y t e xts a nd R e se a r c h : Mo l l y D or k i n De sig n : L a r a P i l k i n g t on

Photo g r a phic c r e d i ts © S i m on C . D i c k i n s on Lt d © Su c c e s s i on P i c a s s o / DAC S , L on d on 2 0 1 4 © A DAG P, Pa r i s a n d DAC S , L on d on 2 0 1 4 © Mu s e o d e s B e l l a s A r t o s d e B i l b a o © Nat i on a l G a l l e r y of A r t , Wa s h i n g t on © 2 0 1 4 Im a g e c opy r i g ht T h e Me t rop o l it a n Mu s e u m of A r t / A r t R e s ou rc e / S c a l a , F l ore n c e

Ap a r t f rom i n s t itut i on a l pi c tu re s a n d p h ot o g r ap h s , a l l w or k s l i s t e d i n t h e c at a l o g u e a re c u r re nt l y b e i n g of f e re d f or s a l e w it h t h e e x c e pt i on of nu m b e r s : 8 , 1 0 , 1 3 , 1 4 , 1 9 , 2 1 , 2 7 , 29, 30, 31, 37, 38, 39, 49.

S I M ON C . DIC K I N S ON LT D .

LON D ON 5 8 Je r my n S t r e e t London SW1Y 6LX Te l ( 4 4 ) 2 0 7 4 9 3 0 3 4 0 N E W YOR K 19 East 66th Street N e w Yo r k N Y 1 0 0 6 5 Te l ( 1 ) 2 1 2 7 7 2 8 0 8 3

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