Still Life under a Lamp

1962
(Spanish, 1881–1973)
Image: 52.8 x 63.8 cm (20 13/16 x 25 1/8 in.); Sheet: 62 x 74.8 cm (24 7/16 x 29 7/16 in.)
© 2024 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Catalogue raisonné: Bloch I.231.1101
Location: not on view
This artwork is known to be under copyright.

Download, Print and Share

Description

In 1958 at the age of 77, Picasso executed his first great multicolored linocut, Portrait of a Lady, after Cranach the Younger, for which he cut six linoleum blocks, one for each color. Each block had to be carefully aligned in succession. Finding this a laborious process, Picasso devised an entirely new method that he used for 147 linocuts executed by 1968. Picasso's innovation was to use a single block to print all of the colors, cutting out more of the design from the block for each color. To create Still Life Under a Lamp, he first printed the uncut block in white on 80 sheets of paper (the edition was 50 but some sheets would be ruined in the printing process) because the other colors print better over a layer of clear ink. Then the few areas that were to remain white were cut away, the surface of the block was inked in yellow, and the block was printed. Next, the areas to remain yellow were cut away, and the block, inked with red, was printed over the yellow. Proceeding in this manner, the green and black were also added in succession. This is a daring method: if a mistake is made at the end of the process, the entire edition is ruined.
Still Life under a Lamp

Still Life under a Lamp

1962

Pablo Picasso

(Spanish, 1881–1973)
Spain, 20th century

Visually Similar by AI

CMA Store

 (opens in new tab)
Picasso and Paper
Picasso and Paper
Text by Violette Andres, Stephen Coppel, Ann Dumas, Emmanuelle Hincelin, Christopher Lloyd, Emilia Philippot, Johan Popelard, Claustre Rafart Planas, William H. Robinson. How Picasso’s genius seized the potential of paper throughout his career Picasso’s artistic output is astonishing in its ambition and variety. Picasso and Paper examines a particular aspect of his legendary capacity for invention: his imaginative and original use of paper. He used it as a support for autonomous works, including etchings, prints and drawings, as well as for his papier-collé experiments of the 1910s and his revolutionary three-dimensional “constructions,” made of cardboard, paper and string. Sometimes his use of paper was simply determined by circumstance: in occupied Paris, where art supplies were in short supply, he ripped up paper tablecloths to make works of art. And of course, his works on paper comprise the preparatory stages of some of his very greatest paintings. With reproductions of nearly 400 works of art and a series of insightful new texts byleading authorities on the artist, this sumptuous study reveals the myriad ways in which Picasso explored the potential of paper at different stages of his career. Picasso and Paper is published for an exhibition organized by the Royal Academy of Arts, London, and the Cleveland Museum of Art in partnership with the Musée national Picasso-Paris. The legendary life and career of Pablo Picasso (1881–1973) spanned nearly the entire 20th century and ushered in some of its most significant artistic revolutions.

Contact us

The information about this object, including provenance, may not be currently accurate. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

All images and data available through Open Access can be downloaded for free. For images not available through Open Access, a detail image, or any image with a color bar, request a digital file from Image Services.