Pablo Picasso, ‘Buste de femme (Femme à la résille)’, 1938, Christie's

Signature: dated '12.1.38.' (on the stretcher)

Venice, Centro di Cultura di Palazzo Grassi, Picasso: Opere dal 1895 al 1971 dalla collezione Marina Picasso, May-July 1981, p. 342, no. 240 (illustrated; illustrated again in color, p. 124, pl. 53).

Munich, Haus der Kunst; Cologne, Josef-Haubrich-Kunsthalle in Zusammenarbeit mit dem Museum Ludwig; Frankfurt am Main, Städtische Galerie im Städelschen Kunstinstitut and Kunsthaus Zürich, Pablo Picasso: Eine Ausstellung zum hundertsten Geburtstag, Werke aus der Sammlung Marina Picasso, February 1981-March 1982, p. 354, no. 198 (illustrated; illustrated again in color, p. 162, fig. 45).

Tokyo, The National Museum of Modern Art and Kyoto Municipal Museum, Picasso: Masterpieces from Marina Picasso Collection and from Museums in U.S.A. and U.S.S.R., April-July 1983, p. 287, no. 157 (illustrated, p. 288; illustrated again in color, p. 130).

Melbourne, National Gallery of Victoria and Sydney, Art Gallery of New South Wales, Picasso, July-December 1984, p. 130, no. 122 (illustrated in color).

Jerusalem, The Israel Museum, Monet to Matisse: Modern Masters from Swiss Private Collections, October 1988-January 1989, p. 106 (illustrated in color, p. 107).

New York, The Museum of Modern Art and Paris, Grand Palais, Picasso and Portraiture: Representation and Transformation, April 1996-January 1997, p. 393 (illustrated in color; titled Dora Maar; illustrated again in the artist’s studio, p. 404).

C. Zervos, Pablo Picasso, Paris, 1958, vol. 9, no. 119 (illustrated, pl. 58).

D.D. Duncan,Picasso's Picassos: The Treasures of La Californie, London, 1961, p. 229 (illustrated).

J. Freeman, Picasso and the Weeping Women: The Years of Marie-Thérèse Walter & Dora Maar, exh. cat., Los Angeles County Museum of Art, 1994, pp. 181, 185 and 190 (illustrated in color, p. 184, fig. 135).

The Picasso Project, ed., Picasso's Paintings, Watercolors, Drawings and Sculpture: Spanish Civil War, 1937-1939, San Francisco, 1997, p. 124, no. 38-010 (illustrated).

J. Palau i Fabre, Picasso: From the Minotaur to Guernica, 1927-1939, Barcelona, 2011, p. 447, no. 1105 (illustrated in color, p. 360; titled Portrait of Dora Maar with Hat and Hairnet).

B. Léal, C. Piot and M.-L. Bernadac, The Ultimate Picasso, New York, 2000, pp. 325, 329 and 520 (illustrated in color, p. 328, fig. 802).

I. Mössinger, B. Ritter and K. Drechsel, eds., Picasso et les femmes, exh. cat., Kunstsammlungen Chemnitz, 2002, p. 211 (illustrated in the artist’s studio).

Estate of the artist.

Marina Picasso, Paris (by descent from the above).

Jan Krugier and Marie Anne Krugier-Poniatowski, Geneva (acquired from the above).

L&M Arts, New York.

Acquired from the above by the present owner.

About Pablo Picasso

A prolific and tireless innovator of art forms, Pablo Picasso impacted the course of 20th-century art with unparalleled magnitude. Inspired by African and Iberian art and developments in the world around him, Picasso contributed significantly to a number of artistic movements, notably Cubism, Surrealism, Neoclassicism, and Expressionism. Along with Georges Braque, Picasso is best known for pioneering Cubism in an attempt to reconcile three-dimensional space with the two-dimensional picture plane, once asking, “Are we to paint what’s on the face, what’s inside the face, or what’s behind it?” Responding to the Spanish Civil War, he painted his most famous work, Guernica (1937), whose violent images of anguished figures rendered in grisaille made it a definitive work of anti-war art. “Painting is not made to decorate apartments,” he said. “It’s an offensive and defensive weapon against the enemy.” Picasso’s sizable oeuvre includes over 20,000 paintings, prints, drawings, sculptures, ceramics, theater sets, and costume designs.

Spanish, 1881-1973, Malaga, Spain, based in Paris and Mougins, France

Exhibition Highlights

2018
Montreal,
Face to Face: from Yesterday to Today, Non-Western Art and Picasso
2017
Paris,
Picasso 1932. Année érotique