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拍品专文
玛雅·维德迈尔-毕加索(Maya Widmaier-Picasso)确认这幅作品确属真迹。
克劳德·毕加索(Claude Picasso)确认这幅作品确属真迹。
Picasso met Igor Stravinsky in 1917 and the two would engage in a thriving artistic dialogue for the next three years, though their friendship lasted throughout their lives. Brought together in Rome by the founder of the Ballets Russes, Sergei Diaghilev, these two artists formed a quick bond of friendship that was strengthened by their admiration for and interest in the other’s creative talents. Though John Richardson notes “Picasso told Stravinsky that he had little ear for music but an inherent sense of rhythm…this enabled him to appreciate the achievements” of the musical visionary (A Life of Picasso, The Triumphant Years, 1917-1932, New York, 2009, p. 23). The present lot, a drawing design for the cover score of Stravinsky’s Ragtime, represents a striking collaboration between two great cultural innovators of the twentieth century.
Composed by Stravinsky for eleven instruments, Ragtime was published in 1919. Executed as one continuous line drawing on each side of the sheet, Picasso has managed to capture the spirit of his composer friend in a way that commemorates his musical talents. With each swirling line, the influence of sheet music and the rhythmic complexities of musical notes becomes apparent. Picasso likely completed these drawings in response to Stravinsky’s own attempt at capturing his new friend in musical form using telegram paper to create “Sketch of Music for the Clarinet.” By scoring the music for a clarinet, Stravinsky made reference to an instrument that featured heavily in Picasso’s works during that time.
Picasso and Stravinsky’s collaborations would come to a fruitful culmination with the 1920 Ballets Russes production of Pulcinella, a ballet based on commedia dell’arte themes, which had first been proposed by Léonide Massine. Picasso designed the stage sets and costumes and Stravinsky worked on the score, based on the music of Pergolesi. Picasso’s admiration for Stravinsky persisted through this collaboration, as is seen in the numerous portraits he completed of his friend during that time (Zervos, vol. 4, no. 60; fig. 1). These drawings and the present lot are remarkable testimony to the strong camaraderie between them.
(fig. 1) Pablo Picasso. Igor Stravinsky, Picasso Museum, Paris.
克劳德·毕加索(Claude Picasso)确认这幅作品确属真迹。
Picasso met Igor Stravinsky in 1917 and the two would engage in a thriving artistic dialogue for the next three years, though their friendship lasted throughout their lives. Brought together in Rome by the founder of the Ballets Russes, Sergei Diaghilev, these two artists formed a quick bond of friendship that was strengthened by their admiration for and interest in the other’s creative talents. Though John Richardson notes “Picasso told Stravinsky that he had little ear for music but an inherent sense of rhythm…this enabled him to appreciate the achievements” of the musical visionary (A Life of Picasso, The Triumphant Years, 1917-1932, New York, 2009, p. 23). The present lot, a drawing design for the cover score of Stravinsky’s Ragtime, represents a striking collaboration between two great cultural innovators of the twentieth century.
Composed by Stravinsky for eleven instruments, Ragtime was published in 1919. Executed as one continuous line drawing on each side of the sheet, Picasso has managed to capture the spirit of his composer friend in a way that commemorates his musical talents. With each swirling line, the influence of sheet music and the rhythmic complexities of musical notes becomes apparent. Picasso likely completed these drawings in response to Stravinsky’s own attempt at capturing his new friend in musical form using telegram paper to create “Sketch of Music for the Clarinet.” By scoring the music for a clarinet, Stravinsky made reference to an instrument that featured heavily in Picasso’s works during that time.
Picasso and Stravinsky’s collaborations would come to a fruitful culmination with the 1920 Ballets Russes production of Pulcinella, a ballet based on commedia dell’arte themes, which had first been proposed by Léonide Massine. Picasso designed the stage sets and costumes and Stravinsky worked on the score, based on the music of Pergolesi. Picasso’s admiration for Stravinsky persisted through this collaboration, as is seen in the numerous portraits he completed of his friend during that time (Zervos, vol. 4, no. 60; fig. 1). These drawings and the present lot are remarkable testimony to the strong camaraderie between them.
(fig. 1) Pablo Picasso. Igor Stravinsky, Picasso Museum, Paris.