Pablo Picasso, Jacqueline Leaning on Her Elbows, Linocut, 1962

Pablo Picasso (1881-1973)

Jacqueline Leaning on Her Elbows

Colour Linocut on Vellum paper

year 1962

sheet size: 317 x 383 mm
image size: 270 x 223 mm

plate number 19 from the collection of Linocut published by Cercle d'Art editions in 1962

Great Condition: negligible signs of ages, never framed - please see pictures!
Note on condition: our artwork is complete, neither cropped nor trimmed. We insist on that because some people used to crop linocuts from these series in order to cut the small numbers lower left, for aesthetic reason: this way, the artwork loses its integrity and even most of its economic value. We are selling a complete artwork, not crippled, and we show it all - one of the pictures includes the edges. Tip: if one does not like the small number, it is easy to hide it under a passepartout when matted - just don't trim the artwork!

This is a real linocut from the original edition dated 1962 (NOT from the lithograph/digital reprints published in 1988 and 2020)
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Picasso and Linogravure (Linocut)

Picasso's activity on linocut is late, and certainly due to the desire to give color, having in lithographs a secondary role, a leading one in graphic creation. Thus, the artist did not intend to discover a new series of contents and forms, but to adapt his figurative world to new technical possibilities. And so, as in all of Picasso's experiences - whether in plastic, lithography, ceramics, or aquatint - the results obtained can only be compared to Picasso's own previous creations.
We do not know what chance event brought Picasso into contact with the unusual medium of linoleum. Just as a year earlier he had finished painting "L'Arlésienne" with dove feathers collected from the courtyard of his house "La Californie" in Cannes, rather than with a brush, the linocuts may also have had an equally casual immediate inspiration. However, in comparing the aquatints of the "Tauromachia" with the brush drawings immediately preceding the linocuts, a fundamental difference is immediately spotted. The engravings are static and two-dimensional, so much so that they sometimes create a silhouette effect. The artist then used several very different expedients to adapt his motifs to the possibilities offered by printed linocut. Although he had previously only made woodcuts, Picasso soon found himself at ease in this new field where he ventured with rapid decision and treats the docile material according to methods of extreme ductility. Linear and two-dimensional schemes are used and exhibited by numerous superimpositions of the same colour, or by repeatedly reprinting the same matrix appropriately modified. Among the various colour agreements, the ideal type prevails in the combination of ochre, brown and black inspired by the color scheme of Greek vases and which inexplicably also responds perfectly to the needs of the most modern technique.
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This Artwork

Images of Jacqueline Roque (1927–1986), Picasso’s second wife, dominate the final stage of the artist’s career and constitute the largest group of portraits in the Spaniard’s oeuvre. Picasso represented her visage again and again over two decades, covering a range of styles, from simply realistic to exceedingly abstract. When Picasso met Roque in 1952, the artist had just turned 70, and because of the energy required for oil painting was high, he often executed her portraits in drawings and prints. The selection shown here, created within a four-year period, points to the variety of Picasso’s artistic approaches. The bold, fractured lines and color, the classical profile pose, the reductive line drawing, the sitter’s costuming as a beloved Spanish character, the long nose and high cheekbones—all transformed through the endlessly variegated hand of the artist—serve as a summary of the constantly shifting methods Picasso employed throughout his epic eighty year career.