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©
Succession Pablo Picasso, VEGAP, Madrid
Pablo Picasso

Study for the Head of "Nude with Drapery"

1907
Watercolor and gouache on Brown paper.
31 x 24.5 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
705
(
1974.45
)
Not exhibited
  • Level 2 Permanent Collection
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  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
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1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
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Although this small gouache by Pablo Picasso has often been held to be a study for his most innovative work, Les Demoiselles d’Avignon, it is in fact a preparatory drawing for Nude with Drapery, a canvas painted shortly afterwards. In addition, although some authors bring forward the date of the Study to the winter of 1906‒7, it is more likely to have been executed in Paris in the summer of 1907, when the painter was working on the canvas. Nude with Drapery is a separate depiction of the second female figure of Les Demoiselles which develops the theme of the dance of the veils. While the geometrised composition of Les Demoiselles can be regarded as Picasso’s “reaction” to Derain’s Bathers, which deeply moved him at the Salon des Indépendants in March 1907, in the present Nude, the painter “defies” the rhythms of Matisse’s Blue Nude on display at the same exhibition. The nude dancer moves like a medium, under the spell of some mysterious music, in a gesture of self-abandonment with closed eyes. Her movements reveal more than the eye can see and, as Pierre Daix states, Picasso succeeds in creating “true depth with her rhythms alone.” With this innovative formula, the artist not only solves the problem of painting in three dimensions, but embarks on his unstoppable journey towards the Cubist language.

As in the canvas, in the present Study belonging to the Thyssen-Bornemisza collection — which is perhaps the closest to the final work — the influence of African sculpture is evident in the radical abstraction of the forms and in the geometrised and elongated facial features that recall primitive masks. The contours are delimited by a thick black line and volume is created by parallel hatching in different directions.

Both Nude with Drapery and the series of preparatory studies (among them that in the collection) were acquired by Leo Stein (1872‒1947) and his sister Gertrude (1874‒1946) in autumn 1907. The large canvas was sold shortly afterwards to the Russian collector Sergei Shchukin and was not shown until its brief presentation in Paris in 1954. In 1971, The Museum of Modern Art in New York again brought together the canvas and the set of studies in an exhibition devoted to the Steins. The catalogue included a photograph of Leo and Gertrude Stein’s studio at number 27 rue de Fleurus taken about 1913, showing this small gouache hanging next to the Portrait of Gertrude Stein, the first image in which the painter had replaced the subject’s face with a primitive mask with abstract features, and other works by Picasso, Matisse, Manguin and Daumier. Another photograph dated two years later shows the work in the writer’s studio beside the Portrait of Madame Cézanne in an Armchair, next to which it also hung in her home at number 5 rue Christiné. It is not known for certain if this work belonged to the writer’s collection at her death, or if it was part of her Estate in the care of Alice B. Toklas.

Paloma Alarcó

20th Century20th Century - European painting. Cubism and Its wakeWork on paperWatercolor and gouacheBrown paper
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Study for the Head of "Nude with Drapery". Estudio para la cabeza de "Desnudo con paños", verano de 1907
Study for the Head of "Nude with Drapery"
Pablo Picasso

©

Succession Pablo Picasso, VEGAP, Madrid

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Study for the Head of "Nude with Drapery". Estudio para la cabeza de "Desnudo con paños", verano de 1907
Study for the Head of "Nude with Drapery"
Pablo Picasso

©

Succession Pablo Picasso, VEGAP, Madrid

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