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Large Print Labels Degas to Picasso Large print labels Degas to Picasso: International Modern Masters Raoul Dufy [French, 1877–1953) The Band 1946 Lithograph on paper The School Prints printed by The Baynard Press Purchased with support from an Anonymous Donor (2007) Pablo Picasso [Spanish, 1881–1973) Composition 1949 Lithograph on paper The School Prints printed by The Baynard Press Purchased with support from John Morrish (2007) This lithograph was produced as part of the School Prints, which aimed to introduce schoolchildren to original art by leading contemporary artists. It apparently depicts Brenda Rawnsley, the Director of the scheme, relaxing in a hammock after she had lunched with Picasso in the south of France. The plane she had charted to fly from England is depicted in the sky and a watermelon cactus they had eaten is in the foreground. Salvador Dalí [Spanish, 1904–1989) Lei from Hawaii, California Suite 1973 Lithograph on paper Kearley Bequest, through Art Fund (1989) Salvador Dalí [Spanish, 1904–1989) Bird of Paradise, from Hawaii, California Suite 1973 Lithograph on paper Kearley Bequest, through Art Fund (1989) Pablo Picasso [Spanish, 1881–1973) Carnet de la Californie (from the book by Georges Boudaille) [Bloch 900] 3.11.1959 Lithograph on paper Published by Editions Cercle d’Art On Loan from a Private Collection (2015) Pablo Picasso [Spanish, 1881–1973) 1.2.54.I from La Comedie Humaine/ The Human Comedy 1954 Lithograph on paper Printed by Mourlot Frères The Peter Collymore Gift (2016) In 1954, Picasso was commissioned by the publisher Tériade to create a series of illustrations depicting scenes from ‘La Comédie Humaine’ (The Human Comedy) by the 19th century novelist Honoré de Balzac.The collection of 137 short stories, novels and essays depicted life in the Bourbon Restoration period after the French Revolution. Picasso created a suite of 180 drawings and a set of 12 colour lithographs, which were printed under the artist’s direction at the Atelier Mourlot studio in Paris. Georges Braque [French, 1882–1963) The Bird 1946 Lithograph on paper The School Prints printed by The Baynard Press Purchased with support from an Anonymous Donor (2007) Henri Matisse [French, 1869 –1954) Dancer 1949 Lithograph on paper The School Prints printed by The Baynard Press Purchased with support from an Anonymous Donor (2007) In the print, Matisse’s bold use of colour and fluid use of line creates both movement and space. According to Brenda Rawnsley, the publisher of the School Prints, Matisse explained that ‘if the depth of colour of the red and green was correctly contrasted and you ran your eye down a central line, the white dancers will actually dance; if there was any variation in the contrasting tones of the green and red, they would not dance. This took a lot of time and produced quite a lot of difficulty until eventually we were able to get it right.’ Fernand Léger [French, 1881–1955) King of Hearts 1949 Lithograph on paper The School Prints printed by The Baynard Press Purchased with support from an Anonymous Donor (2007) Henri Matisse [French, 1869 –1954) L’Escargot/The Snail 1954 Lithograph on paper Printed by Mourlot Frères Published in ‘Verve’ 1958. Hussey Bequest, Chichester District Council (1985) This lithograph relates to Matisse’s monumental paper cutout in the Tate collection, which suggests a snail through a spiralling arrangement of brightly coloured pieces of paper. The artist claimed, ‘I have attained a form filtered to its essentials’. It is from a special edition of Verve, which included lithographs of Matisse’s late works from 1950–54. The lithographs were printed under Matisse’s direction in 1954 and the book published by Mourlot Frères in 1958. Sonia Delaunay [Ukraine, 1885 –1979) Rythme en couleurs 1956 Lithograph and pochoir on paper Printed at Atelier Jacomet Transfer from Derbyshire County Council, Schools Library Service with Support From the Esmée Fairbairn Collections Fund (2020) Born in the Ukraine, Delaunay was a key figure in the Parisian avant-garde. She celebrated the modern world of movement, technology and urban life, exploring new ideas about colour theory together with her husband Robert Delaunay. She moved to Paris in 1905 and was inspired by the Post-Impressionist and Fauve art that she saw in the galleries. She stated ‘If there are geometric forms, it is because these simple and manageable elements have appeared suitable for the distribution of colours whose relations constitute the real object of our search.’ This print was made by the Atelier Jacomet, with hand- colouring applied over cut stencils. ‘Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable.’ [Charles Baudelaire) Paul Cézanne [French, 1839 –1906) Self-portrait at the Easel c.1897–8 Lithograph on paper Printed by Auguste Clot Wilson Loan (2006) Cézanne painted a number of self portraits during his career. This is one of only four lithographs worked on by Cézanne and was commissioned by his dealer Ambroise Vollard for his L’Album des peintures-graveurs (The Album of Painter- Engravers). It was probably drawn about 1897 to 1898, and printed in c.1900, but not published until after the artist’s death, in around 1914. Paul Cézanne [French, 1839 –1906) Portrait of Armand Guillaumin with the hanged Man 1873 Drypoint etching on paper Posthumous restrike Wilson Loan (2006) The creation of original lithographs and etchings played a relatively small role within Cézanne’s artistic oeuvre. It was only through the insistence of Pissarro, and that of another close painting associate, Armand Guillaumin (1841–1927), that Cézanne experimented with etching. In 1873 Pissarro had invited Cézanne and Guillaumin to stay with him at Pontoise and had introduced them to Dr. Gachet. Gachet was an enthusiastic etcher and prevailed on all the artists who came to see him to try their hand at etching; he even prepared the copper plates and pulled the proofs on his own press. Camille Pissarro [Danish-French, 1830 –1903) Côte Sainte Catherine, à Rouen 1883 Drypoint etching and aquatint on paper Numbered 2/20 The Elizabeth Burney Bequest (2018) Often described as the father of Impressionist painting, Camille Pissarro was one of the most influential artists of the 19th century. He was a prolific printmaker, experimenting with etching and lithographic techniques in the Impressionist style. Pissarro valued printmaking as equal to oil painting, but there was little demand for his prints during his lifetime. In 1883 Pissarro visited Rouen on the advice of Claude Monet, and returned to Paris with a number of sketches, which he used in developing the Rouen prints. Édouard Manet [French, 1832–1883) Lola de Valence 1863 Etching and aquatint on paper Posthumous restrike Wilson Loan (2006) This etching relates to Manet’s painting of the Spanish dancer Lola Melea. Known as Lola de Valence, she was the star of the Camprubi dance troupe, which appeared at the Hippodrome in Paris. The words of the poet Charles Baudelaire from Les Fleurs du Mal (The Flowers of Evil) are inscribed beneath the image, ‘Among such beauties as one can see everywhere, I understand, my friends, that desire hesitates; but one sees sparkling in Lola of Valencia, the unexpected charm of a black and rose jewel.’ Édouard Manet [French, 1832–1883) Olympia 1867 Etching and aquatint on paper Wilson Loan (2006) When Manet’s painting ‘Olympia’ was first unveiled in Paris in 1865, its directness was described by the critics as ‘shocking’. Rather than an allegorical representation, Manet had depicted a contemporary prostitute and her black servant Laure. Made after the painting, this etching was used as the frontispiece in a pamphlet published in 1868 by the defending Manet’s art by writer and art critic Émile Zola. Pablo Picasso [Spanish, 1881–1973) La Toilette de la Mère/Mother at her Toilet, from La Suite des Saltimbanques (Bloch 13) 1905 (published 1913) Etching and drypoint on paper Edition of 250 John Morrish Bequest (2013) Picasso moved to Paris in 1904 and settled in the heart of Montmartre. He took a studio at 13, Rue Ravignan, an old studio building which was nicknamed Bateau-Lavoir. Among his friends was his companion Fernande Olivier, as well as a group of poets, artists and collectors. Picasso’s printmaking activities are as significant as his paintings and he made a number of early etchings in which he depicts delicate images of figures. In 1913, Ambroise Vollard, the art dealer, bought these early plates from Picasso and printed a large edition titled La suite des Saltimbanques. Suzanne Valadon [French, 1865–1938) Femmes et enfant au bord de l’eau/ Women and Child by the Water’s Edge 1904 (published 1932) Soft-ground etching on paper Numbered 59/75 The Michael Woodford Bequest (2015) Valadon modelled for several of the most important painters of her day, including Pierre-Auguste Renoir and Henri de Toulouse-Lautrec. Encouraged by a fellow artist, she showed her drawings to Edgar Degas, who supported her efforts and taught her how to engrave and print on his own hand press. Degas was the first to purchase a drawing by Valadon, which hung in his dining room and in 1900 he described her as a ‘genius at drawing.’ In 1894 Valadon was the only woman admitted to the Société Nationale des Beaux-Arts. She showed at the Salon d’Automne, the Salon des Indépendants and in 1915 at Galerie Berthe Weill. Paul Cézanne [French, 1839 –1906) Les Grands Baigneurs / The Large Bathers 1898 Lithograph on paper Kearley Bequest, through Art Fund (1989) Bathers were an enduring theme in Cézanne’s art, as was the distinctive form of Mont Sainte-Victoire, the mountain near Aix-en-Provence which Cézanne painted repeatedly in his later years.
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