Alceando a un Toro (B. 976)

Picasso, Pablo

243325 Picasso, Pablo Alceando a un Toro From La Tauromaquia 1959 B. 976; Cr. 100 7 3/4'' x 11 1/2'' Sugar-lift aquatint on Guarro paper. With bull's head watermark designed by the artist. One of 26 aquatints plus one drypoint (cover) included in 'La Tauromaquia,' Picasso's homage to the famous matador Jose Delgado (alias Pepe Illo). From the edition of 220 numbered on the justification. Aside from the edition of 2 copies on China numbered 1 and 2, 10 copies on Japon ancien numbered 3 to 12 in Arabic, 18 copies on Japon ancien numbered 13 to 30 in Arabic, 10 collaborators copies numbered I to X in Roman and 3 copies reserved for the Madrid National Library (2) and the Barcelona University Library (1). Published by Gustavo Gili, S.A., Barcelona. Printed by Atelier Lacouriere, Paris. First used by Picasso in 1936, the technique of creating a sugar aquatint or "lift-ground etching" was a complicated and obscure method. It had it's advantages as it allowed the artist to draw directly onto a metal plate, preserving brushwork and allowing for large blocks of color instead of the thin lines attributed to most etchings. Using this process, the artist would paint the metal plate with a thick ink that included sugar and gum Arabic. The drawing was then covered with a varnish and dipped in water. The water would penetrate the varnish and remove the sugary ink. The areas that had not been treated with the ink would remain covered with varnish. The exposed areas were then "bitten" with acid. This technique allowed for the final print to reflect an array of subtle tones and rich textures. Fascinated with the bullfight at an early age, it is not widely known that Picasso's first oil painting was of a matador. Throughout his career, the bullfight appeared and re-appeared. Always a part of the artist's conscious, it is one of the most important themes that Picasso explored.

Reg. No.

243325

Size

7 3/4" x 11 1/2"

Medium

AQUATINT

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