Paysan et Maja, pl. 74, from Series 156, 1971; Etching on wove paper; Signed in pencil Picasso lower right, numbered 19/50 in pencil lower left; dated 11-3-71 in the plate lower center; Published by Edition Galerie Louise Leiris, Paris; Size - Plate 8 1/8 x 5 7/8", Sheet 12 7/8 x 10", Frame 19 x 16"; Framed sheet floated and matted, black wood exterior frame, and plexiglass; Catalogue Raisonne: B. 1929; Ba. 1938.
Close up of the Picasso pencil signature.
The 156 Series, created in 1970 - 1972 was completed within just over a year of his death. Based on the number, you would think that there would be 156 prints in the series, however there are actually 155. A single print was either lost or the total miscounted.
John Richardson, Picasso’s principal biographer, describes the themes of Picasso’s late drawings and prints as follows:
“As a result of an ulcer operation in November 1965, Picasso had given up traveling and become something of a recluse. Except for his wife Jacqueline, her daughter Catherine, the Bresnus [his chauffeur and the chauffeur’s spouse] and a few professional associates (notably the Crommelynck brothers who worked on his prints), he saw very few people. To extend the cast of characters in his imagery, Picasso was obliged to invoke figures from his past as well as from his pantheon of favorite painters. Hence, former mistresses, Barcelona whores, harlequins and circus folk from the Rose period rub shoulders with personages from the work of Raphael, Rembrandt, Goya, Ingres, Degas and van Gogh, and sometimes the artists themselves. Thanks to these revenants, Picasso managed to merge the past with the present."
John Richardson, Picasso’s principal biographer, describes the themes of Picasso’s late drawings and prints as follows:
“As a result of an ulcer operation in November 1965, Picasso had given up traveling and become something of a recluse. Except for his wife Jacqueline, her daughter Catherine, the Bresnus [his chauffeur and the chauffeur’s spouse] and a few professional associates (notably the Crommelynck brothers who worked on his prints), he saw very few people. To extend the cast of characters in his imagery, Picasso was obliged to invoke figures from his past as well as from his pantheon of favorite painters. Hence, former mistresses, Barcelona whores, harlequins and circus folk from the Rose period rub shoulders with personages from the work of Raphael, Rembrandt, Goya, Ingres, Degas and van Gogh, and sometimes the artists themselves. Thanks to these revenants, Picasso managed to merge the past with the present."
Close up of the edition number, 19/50.
Picasso's involvement with his artwork was total and during this latter part of his life, while living in the South of France, he worked almost exclusively in printmaking. He persuaded the Crommelynck brothers, whom he had worked with in Paris, to set up a print studio near him and he worked furiously on the printing plates until his death. The 156 series of prints can be considered his last great outpouring. He worked intensely and the series was very personal containing subject matter relating both to Picasso's life experiences and his imagination. Many of the prints are highly erotic and in them the woman are dominent and the men are mere voyeurs; reflecting his own sexual impotence. Many believe that these later prints are among Picasso's greatest and most personal, as he had no need for money at this stage in his life and so was not constrained by the idea of commercial success.
Framed "Paysan et Maja, pl. 74, from Series 156," 1971 Etching by Pablo Picasso.
This wonderful etching by Picasso depicts a Paysan (male peasant) and a Maja (female peasant who distinguished themselves by their sense of style in dress and by their movements). The Paysan is nude except for his hat and the Maja is topless, wearing only an elaborate patterned dress and high heel shoes. Her face is also exaggerated with overly applied makeup. The couple are a contrast in forms and both appear casual; however there is a tension created by their presence for the viewer; that can only partially be justified by their nudity. This is a great original etching that is individually numbered and it is hand signed in pencil by Pablo Picasso.
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