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John Szoke Gallery

Picasso and Munch: Important Prints of the 20th Century

Picasso and Munch: Important Prints of the 20th Century

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Pablo Picasso, Edvard Munch

"Everyone wants to understand art. Why don’t we try to understand the song of a bird”--Picasso

There are things in this world that can’t be explained. When speaking of images, we tend to talk around and through them, losing the meaning of its essence. Can you explain the essence of a painting, or an etching, why it has moved you so? Can you explain the essence of Picasso?  He was not only remarkable and worthy of attention but popular to the highest degree. His art was the embodiment and the paragon of what people thought was modern in visual art.

Edvard Munch contributed and brought into existence something new. He gave voice through his paintings and his printmaking. The originality of his work was profoundly penetrating and revolutionary in developing an understanding of the human condition and how it is expressed.

Image: EDVARD MUNCH W078 Løsrivelse II / Separation II, 1896

My mother said to me, 'If you are a soldier, you will become a general. If you are a monk, you will become the Pope.' Instead, I was a painter, and became Picasso.

-Pablo Picasso

1 SZOKE Picasso B0001_046 high res (1) -

Pablo Picasso

B0001 Le Repas frugal, 1904 (September, Paris)

Etching and scraper printed on Japanese paper

From the Suite des Saltimbanques, edition of 27 or 29 of the second (final) state

Printed by Fort, 1913

Published by Vollard, 1913

Image: 18 1/8 x 14 7/8 inches

Sheet:  22 11/16 x 17 1/2 inches

Framed: 28 3/4 x 24 1/8 inches

(Bloch 1) (Baer 2. II. b. 1 of II. C)

"In The Sick Child I broke new ground-it was a breakthrough in my art. Most of what I have done later was born out of this picture."

--Edvard Munch

Pablo Picasso

B0201 Minotaure caressant du Mufle la Main d'une Dormeuse (S.V. 93), 1933 (June 18.III, Boisgeloup)

Drypoint printed on Montval laid paper with Vollard watermark

From the Suite Vollard (S.V. 93), edition of 260 of the second (final) state

Signed by the artist in pencil, lower right

Printed by Lacourière, 1939

Published by Vollard, 1939

Image: 11 3/4 x 14 3/8 inches

Sheet: 13 3/8 x 17 3/4 inches

(Bloch 201) (Baer 369.II.B.d)

2 SZOKE Picasso B201 - Lillian Luo.jpg


3 SZOKE picasso_b0230_624 - Lillian Luo.

Pablo Picasso
B0230 Faune dévoilant une Dormeuse (Jupiter et Antiope, d'après Rembrandt) (S.V. 27), 1936 (June 12, Paris) 
Sugarlift aquatint and burin with scraper printed on Montval laid paper with Montgolfier watermark
From the Suite Vollard (S.V. 27), edition of 50 of the sixth (final) state 
Signed by artist in pencil, lower right
Inscribed "387, BL 230" lower left margin
Printed by Lacourière, 1939
Published by Vollard, 1939
Image: 12 1/4 x 16 1/8 inches
Sheet: 15 1/4 x 19 3/4 inches
Framed:  22 3/4 x 26 1/2 inches
(Bloch 230) (Baer 609.VI.B.c)

Pablo Picasso
B0746 L' Egyptienne, 1953 (May 11, Paris) 
Sugarlift aquatint printed on Arches wove with Arches watermark
Annotated "Epreuve d'artiste" in pencil, lower right
One of a very few artist's proofs of the second (final) state 
Printed by Lacourière, 1953-54
Published by Galerie Louise Leiris, 1954
Image: 32 11/16 x 18 1/2 inches
Sheet: 35 13/16 x 24 13/16 inches
(Bloch 746) (Baer 906.II.B.b)

4 SZOKE Picasso B746_041 - Lillian Luo.j

Edward Quinn, Picasso and Henri Matarasso, gallery owner and publisher, checking the etching 'La Minotauromachie', La Californie, Cannes, 1961. ©

5 SZOKE Picasso Ba1245 - Lillian Luo.jpg

Pablo Picasso
Ba1245 Portrait de Jacqueline, 1963 
Linocut rincé printed in cream with China Ink on Arches paper
Signed, dedicated and dated 'pour Norman Granz/ son ami Picasso/le. 18.5.69' upper right, in felt-tip pen
5 impressions pulled
Printed by Arnéra, 1963
Image: 25 ¼ x 20 7/8 inches
Sheet: 29 ¾ x 24 3/8 inches
Framed: 36 x 31 1/2 inches
(Baer 1245.C)

Pablo Picasso
B1102 Nature morte à la suspension, 1962 (March 22, Mougins) 
Linocut printed in colors (cream, gray, flat black, yellow, green, red, blue, and satin black) from two blocks on Arches paper with Arches watermark
One of around 25 artist's proofs (8 of which were signed) outside the edition of 50
Signed by the artist in pencil, lower right
Printed by Arnéra
Published by Galerie Louise Leiris, 1963
Image: 25 x 20 3/4 inches
Sheet: 29 5/8 x 24 1/2 inches
Framed: 36 5/8 x 31 1/2 inches
(Bloch 1102) (Baer 1313.B.g.2.β)

6 SZOKE Picasso B1102_073a - Lillian Luo
7 SZOKE Picasso B1095_023 - Lillian Luo.

Pablo Picasso
B1095 Portrait de Jacqueline en Carmen (L'Espagnole), 1962 (15 April, Mougins) 
Linocut in three colors on Arches paper
Signed by the artist in pencil, lower right
Numbered 17/50 in pencil, lower left
From the edition of 50 of the fourth and final state
Published by Galerie Louise Leiris, Paris, 1963
Image: 13 3/4 x 10 5/8 inches
Sheet: 24 1/2 x 17 3/8 inches
Framed: 30 x 23 inches
(Bloch 1095) (Baer 1324.B.a)

Edvard Munch: The Sick Child, 1896, Oil on canvas, 47 13/16 × 46 5/8 in. (121.5 × 118.5 cm). ©Gothenburg Museum of Art, Gothenburg

Edvard Munch

W072 Det syke barn I (The Sick Child I), 1896 
Lithograph printed in grey and yellow (stones A2 and C) on China paper
Signed “E Munch” in the stone, lower right
Signed by the artist in pencil, lower right margin
Illegible pencil inscription, lower left margin
Printed by Auguste Clot, Paris
Image: 16 5/8 x 22 3/8 inches
Sheet: 21 x 26 inches
Framed: 27 1/8 x 32 5/8 inches
(Woll 72) (Schiefler 59) (This color combination reproduced in Ina Johannesen, Edvard Munch: 50 Graphic Works from the Gundersen Collection, Oslo, 2010, p. 88)

8 SZOKE Munch W072_062 Det syke barn I -
9 SZOKE Munch W078_091 Seperation II - L

Edvard Munch

W078 Løsrivelse II / Separation II, 1896 
Lithograph on Japanese paper
Inscribed by sister Inger Munch, “Solgt av Inger Munch. 1947”(Sold by Inger Munch), lower right
Image: 16 3/16 x 24 5/8 inches
Sheet: 21 x 30 9/16 inches
Framed: 26 7/16 x 35 inches
(Woll 078 I.b) (Schiefler 68)

Edvard Munch

W147 Das Weib (Woman/Sphinx), 1899 
Lithograph printed on heavy buff wove paper
Stamped ""Fra Edvard Munchs testamentariske gave OSLO KOMMUNE"" in ink, verso
Stamped and inscribed ""Munch-Museet, Munch-museet 1968, Bo nr. 238-42, Sch. nr. ________"" in ink, verso
Printed by Petersen & Waitz
Image: 18 1/4 x 23 1/2 inches
Sheet: 19 5/8 x 25 1/2 inches
Framed: 31 3/8 x 36 5/8 inches
(Woll 147.II) (Schieffler 122)

10 SZOKE image_1587740556.100471 - Lilli

Pablo Picasso

Spanish, 1881–1973

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

Edvard Munch

Norwegian, 1863–1944

A recognized forerunner of Expressionism, Norwegian painter and printmaker Edvard Munch is renowned for his representations of emotion. Associated with the international development of Symbolism, Munch experimented with many different themes, palettes, and styles of drawing. Though stylistically influenced by Paul Gauguin and the Nabis, Munch’s subjects are drawn from his Scandinavian roots and his own tortured psyche. His most famous painting, The Scream (1893), illustrates a tormented cry translated into waves of color that resonate across the landscape. Though based on Munch’s own experience, The Scream has become an instantly recognizable symbol of anxiety and alienation. Often reworking his paintings into etchings and lithographs, Munch was also one of the major graphic artists of the 20th century—he took an experimental approach to printmaking and contributed to the revival of the woodcut.

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