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Representation and the Artist's Creative Power in Picasso's Suite

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Representation and the Artist's Creative Power in Picasso's Suite Nora Hill AR471 Plesch Representation and the Artist’s Creative Power in Picasso’s Suite Vollard Etched during the busy spring of 1933, when Picasso created fifty-five of the one hundred prints that make up the Suite Vollard in a little over two months, the print known as Model Leaning on a Painting encapsulates many of the concepts and influences the artist was grappling with in the Suite Vollard and his other work from that period. The print fits neatly into the “Sculptor’s Studio” section of the Suite and the theme of artist and model that Picasso explored throughout his career. Much has been written about Picasso’s relationships with his models, both in and out of the studio: his passionate affairs with them, his misogyny, his sexual prowess. A blockbuster exhibition at the Vancouver Art Gallery earlier this year, Picasso: The Artist and His Muses, and the accompanying book, chronicled the artist’s depictions of six of his most significant models and lovers, examining the ways they “influenced his life and contributed to his creative output” (Vancouver Art Gallery); this is only the most recent of a number of exhibitions that have focused on the women of Picasso’s life. Noted Picasso scholar Karen Kleinfelder directly addresses the artist-model relationship and his depictions of that theme in her book The Artist, His Model, Her Image, His Gaze. But the artist-model relationship is not the only theme in play in this print. The artist also draws on references to classical mythology and to the Surrealist concept of the androgyne to highlight the artist’s power to transform the human figure through representation. Fig. 1. Pablo Picasso, Model Leaning on a Painting, 1933. Etching and drypoint. Waterville: Colby College Museum of Art. [colby.edu/museum] Model Leaning on a Painting is a sort of mise-en-abyme, a representation of multiple representations. Small details place us in the artist's studio: a palette and jar of paintbrushes sit on the floor in front of the studio, a cloth is draped over the edge of the painting, light shines in from a window behind the sculpted head, and the vase of flowers which appears in seventeen other prints from the Suite Vollard sits on the table. The print depicts three figures. A large sculpture of a woman's head sits on a table at the left, a nude model is seated to the right, and, in the center, a painting of a seated figure obscures much of the model's body. In contemplating the relationships between these three figures, it is also important to consider what does not appear this print: the artist is nowhere to be seen. Stylistically, this print is similar to the others of the “Sculptor's Studio”: thin, sketchy outlines with minimal shading. In places, it is crude—the model's hands look like flippers, her right eye seems to protrude out from the side of her head, and her left arm connects not to her shoulder but to her collarbone. The only shading in the print is in the head of the painted figure, which is made the focal point of the image through careful cross-hatching and a tangle of dark, curly hair. Because this technique draws the eye initially to the figure's delicate facial features, it is easy to assume that it is a woman. Closer examination, however, reveals that the figure has male genitalia. This raises the question of who or what this is—man or woman? Is that figure drawn from the model that it obscures, or is it an idealized human form from Picasso’s imagination? Fig. 2. Pablo Picasso, Model Leaning on a Painting (detail), 1933. Etching and drypoint. Waterville: Colby College Museum of Art. [colby.edu/museum] The long, almond shapes of the eyes and the large, distinctive noses, particularly of the model and sculpture, suggest that at least these two figures represent the same woman. It is harder to compare the features of the painting to the other two because of the marked stylistic differences: her face is much more detailed, with thick cross-hatching, shading, and lines that are drawn and redrawn—looking closely, you can see that the line of her right cheek has been drawn twice, her lips seem to have been drawn multiple times, and her eyes are unclear because there are so many lines. Picasso labored over this face, adding line after line in a confusion of curly hair and cross-hatching. This is in marked contrast to the other figures, where he drew single, curving lines, not bothering to try again if a line did not fall exactly where he wanted it (as demonstrated by the odd break in the line of the model’s left shoulder) and leaving things unfinished (as evidenced by the models odd, flipper-like hands). However, the shape of the painting’s mouth closely resembles that of the model, and the curves of her body are similar. Viewed from afar, where the over-working of the painting’s face is less evident, the eyes do have the same elongated almond shape, and her nose has a similar length to it. It seems likely that this print contains one woman, represented three different ways. This leads the viewer to wonder about the painted figure’s androgyny: does the model also have male genitalia, hidden behind the canvas, or did the absent artist paint her this way to transform her into an ideal, complete human creature? Is the painting a true representation of the model? The complex relationships between the three figures and the artist or viewer are illustrated through the directions of their gazes. The painted figure looks intently up at the sculpted head, which gazes impassively out across the frame of the print. The model, head leaning on her hands, turns away from the two works of art and looks off to the side. The faces of both the painting and the sculpture resemble that of the model, making this print a representation of a woman and two other representations of her. Despite her ideological centrality, however, the model is far from central to the image—she is relegated to the back, physically blocked by the painting, with her outline drawn so lightly that she seems to fade into the background. As in many of Picasso’s other depictions of the artist and model theme, the model is “rendered less tangible than her image on canvas” (Kleinfelder 80). The true center of this image—physically and symbolically—is the work of art. Fig. 3. Brassaï, Picasso in His Studio, 1939. Gelatin silver print. [sothebys.com] The Sculptor’s Studio is one of the central themes of the Suite Vollard. The figure of the bearded, muscular Classical sculptor serves as one of Picasso’s avatars, representing the refined and orderly side of his nature; just as the Minotaur who appears later in the Suite represents the artist’s violent, chaotic instincts. The sculptor appears in numerous prints, often reclining on a couch with a nude model, arms around her and eyes turned to contemplate the sculpture he has presumably just finished. These prints offer a glimpse into Picasso’s relationships with his own female models. Many of the Sculptor’s Studio prints, including Model Leaning on a Painting, contain sculptures that closely resemble the sculpted heads of Marie-Thérèse Walter that Picasso was making as he worked on the Suite Vollard (fig. 3). Marie-Thérèse was the artist’s mistress and muse from 1927 to 1935; sex and art went hand in hand for him. It is hardly a coincidence that the models who appear in in the Sculptor’s Studio prints from the Suite (including Model Leaning on a Painting) have similar facial features to Marie-Thérèse; during this period, she was the statuesque model to Picasso’s classical sculptor in the idyllic space of his studio. Fig. 4. Pablo Picasso, The Fig. 5. Pablo Picasso, Painter Fig. 6. Pablo Picasso, The Artist and His Model, 1926. and Model, 1927. Oil on Artist and His Model, 1928. Oil on canvas. Martigny: canvas. Tehran: Tehran Oil on canvas. New York: Pierre Gianadda Foundation. Foundation of Art. Museum of Modern Art. [pablopicasso.org] [pablopicasso.org] [pablopicasso.org] The theme of artists and models is one Picasso returned to again and again throughout his career, including three paintings created during the decade before he began the Suite Vollard. While these paintings differ significantly in style from each other and from the Sculptor’s Studio prints, they are remarkably similar in composition: the painter’s easel divides the image roughly in half, with the nude model on one side and the painter on the other. In all three, the model’s body is the lightest part of the painting, highlighting and drawing the viewer’s eye to her naked form. Here, the artist-model relationship seems strictly professional: they are separated from each other by the painting on which the artist is working, and their only interaction is his gaze as he sketches her. In the Suite Vollard, Picasso treats the artist-model relationship quite differently. When the sculptor and model appear together, he is not in the act of sculpting her; the completed sculpture stands nearby (fig. 7). Their relationship is intimate and informal. They recline together, limbs intertwined. Both are nude, as opposed to the artist being clothed. Interestingly, in these prints the artist’s gaze is directed not at the model but at the sculpture; it is as if the work of art has replaced the woman as the object of the artist’s desire, even as he lies next to her post-coitus.
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