Description
Only complete collection we have available in the 3rd edition of the Vollard Suite by Pablo Ruiz Picasso. An ideal example to decorate a hotel with the exclusivity of a world-renowned art edition and one of the most important artistic works of the 20th century.
Commissioned by the art dealer and publisher Ambroise Vollard, Picasso hundred etchings made between 13 September 1930 and March 1937 brass (some of the plates have the day, month and year of their implementation, thus allowing a kind of “chronological order”) that became art history under the name of “Suite Vollard” world famous graphic work.
The set of 100 prints that in 1939 appeared in two different formats, one large (50×38.5 cm) with 50 copies per sheet and a smaller one (44.5×34 cm) in a print run of 250 copies, is today dispersed as sheets Loose in different private or public collections and only very few of these collections remain united. The complicated history of the origin of the work, its thematic variety and its thematic diversity, which combines the most varied styles of elaboration: burin, etching, aquatint, watercolor and dry point, and even sometimes appear to be combined, Its dispersion and that the existing collections are scarce. The “Vollard Suite” is, therefore, one of the most important historical-artistic evidences of the twentieth century.
The work is divided into several topics: Violation (5 plates), The Minotaur (15), Rembrandt (4), various free themes (27), Pictures of Vollard (3), and The Sculptor’s Studio (46), wherein one of the first known love of Pablo Picasso, Merie-Thérèse appears repeatedly. Recorded do not follow any logical sequence in their images, their temporal chronology obeyed rather external and personal events of the artist.
The Vollard Suite covers a total of one hundred engravings where Picasso precisely regenerates all his influences, his delusions of grandeur, his irreproachable Mediterranean culture, their view of good and evil in the minotaur disappointed and hungry for human flesh. The artist succeeds in its contradictions to survive with some slack in the critical time of the pseudo-pictorial manifestos called. “The workshop of the artist” theme that covers almost half of the Vollard Suite and so often repeated by Picasso, -later on 1968 347 series or 156 series of 1971 warns, finally abandoning the influence colorist Lautrec, who later will be redeemed, and retrieves the interest in drawing in a stifled attempt to reconstruct the Renaissance had tried to satirize Max Ernt with its “Piedad Urbana” above.
To allow greater accessibility to this singular work of one of the most important artistic personalities of this century, the German Museum Mülheim an der Ruhr, with the authorization of the Picasso family, made a limited reissue in 1992 only 300 collections. The numbering of the copies was from 1 to 300 in the sheet introduction and justification chuck in German, and in each of the engravings, which also carry the Bloch catalog number printed on the verso. The paper was developed with the anagram punching Museum, size 45 x 33 cms.
It is not, therefore, a collection originally signed by Picasso, as it was reissued when he was already dead. It is a facsimile edition which considered the 3rd edition of the Vollard Suite, which are reproduced in each 100 prints the original signature of each engraving Picasso.
The following corresponds to the translation of the German certificate which joined the case with the complete collection of the Vollard Suite:
Between 1930 and 1937, on the orders of the art dealer Ambroise Vollard, a hundred reprographical prints of Pablo Picasso were created and passed on to the history of art under the name “Suite Vollard”. In 1939 the “Vollard Suite” appeared in two different formats, the large version (50 x 38.5 cm) with a print volume of 50 copies per sheet and the small version (44.5 x 34 cm) in a print run 250 copies. Only a few of these series have been preserved together until today, most of them being scattered as loose sheets in different private or public collections. Despite the long history of the “Vollard Suite”, which spread over several years, and despite the fact that its constitution is thematically rich in facets and technical diversity, which brings together the most varied techniques Reproduction as etching, cold water, aquatint, etc., have favored this dispersion of sheets, the whole is one of the most important historical-artistic evidence of the twentieth century.
In groups of more relaxed content, such as “Sculptor and model,” the rich spectrum “Series Minotauro” or “Rembrandt Prints” appears in the different facets of issues that were relevant to the artistic creation of Pablo Picasso during these years. Often, due to external events, such as the design of the cover of the new magazine “Minotaure”, the sheets, like his group in a series by the many years artistic manager and editor of Picasso, Ambroise Vollard, they are more casual and do not follow a strict logical sequence of pictures or original text. However, precisely for this reason, this series, like no other reprographic work of Pablo Picasso, can get a glimpse of the stratification of his imagination with the materials and forms of its traditional knowledge, unbridled spirit of experimentation and inner logic of his artistic creation. Although spontaneity and discontinuity that have originated these sheets, often volcanic how creative impulses, in which for example eleven existing blades were completed in just four days, this series breathes that spirit of freedom, generosity and debauchery that are the prerequisite of all creative metamorphosis. With subtlety and refinement, sovereignty and virtuosity trivial reasons, private experiences, intimate reflections, artistic confrontations, now suddenly acquiring unannounced and diary entries, become immersed again, to appear after months or years back, in motifs and themes found in an intimate context and that are interwoven, even if these database connections and background escape, through space and time, to the construction of an external logic.
To allow the general public access to this unique reprographic work of Pablo Picasso as a whole and also the most qualitative level, the Promotional Circle Municipal Museum of Mülheim an der Ruhr has promoted and competently supported the new edition of the “Suite Vollard “.
The reprint of the “Suite Vollard” is limited to 300 copies, each with 100 loose sheets in a linen box. The numbering of the copies was held from 1 to 300 in the sheet insertion. The reproductions were made in the Grain Screen mode, a technique in which disappears the usual pattern of lines and maximum fidelity to the original is reached. The paper was developed specifically for this work hand in Richard de Bas in Ambert, France, one of the largest paper mills with tradition in Europe. The role of the original edition also comes from this manufacturing. Blanc narcisse quality, vellum, 200 g / m2 was chosen, and was imported by Japico Drissler Feinpapiere, Frankfurt. Playback and format of the paper fell slightly from the original edition.
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