History of Picasso at Madoura:1946-1971
In 1946 Picasso visited the annual ceramics exhibition held in Vallauris, France. Especially taken by the works of the Madoura pottery, he was introduced to Suzanne and Georges Ramie, the owners of the pottery. He ended that day making two pieces at their pottery, and leaving them to dry and be fired. It was one year later that Picasso returned to the pottery, and much to his delight was shown the two pieces from a year before, in excellent shape. He proceeded to start working, having brought along sketches made in preparation for that moment.
Under the close guidance of Suzanne Ramie,
Picasso worked diligently at Madoura, producing many pieces over the course
of the ensuing years.
The master printmaker of the 20th C., Picasso desired to find ways of have
some select pieces duplicated, much as an etching would be. It is these
pieces that have become known as the ceramic editions.
These pieces, varying in edition size from 1 to 500, have found their way
into some of the most notable collections of modern art. They are the least
explored area of Picasso's oeuvre, and one that will no doubt, as we enter
a new millenium and look back, become more and more sought after.
It is a remarkable body of work. Outside of the unique ceramics, now found
primarily in museums, the ceramic editions offer an insight into the concerns
of the greatest artist of the 20th C. The nature of the ceramic material,
and the alchemy of combined glazes, insures a uniqueness to each piece,
even while conforming to a precise and exacting method of reproduction.
This is a large part of the attraction of the ceramics. Just as a fine
etching may have variations in plate tone and inking, so can a ceramic
have variations in firing results.
This is a body of work created over twenty five years. It is amazing that it is so often overlooked in Picasso's work. The subject matter ranged from mythical scenes of centaurs and fauns and nymphs to still life subjects of fish or fruit, to clown-like faces or classical grand forms of women dancing and enjoying music, or bullfights and toreadors. There are many others. The sensuousness of classical imagery and Mediterranean life burst forth in the earthy primal material of clay, linking Picasso to the joyously expressive pottery found from ancient Crete. Certainly the post war feeling of exuberance fueled this outpouring of creativity.
The gallery is extremely experienced and knowledgeable about the Picasso Ceramics, and would be happy to assist with any questions.
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