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Creator Name: Picasso, Pablo
Creator Nationality: European; Iberian; Spanish
Creator Role: Artist
Creator Dates/Places: Spanish; 1881-1973
Creator Name-CRT: Pablo Picasso
Title: The Glass
Title Type: preferred
Title: Wineglass
Title Type: alternate
Title: Verre
View: Full View
Creation Start Date: 1911
Creation End Date: 1912
Creation Date: 1911-12
Creation Place: Europe,Spain
Object Type: Paintings
Materials and Techniques: Oil on canvas and tape
Dimensions: 13 x 6 3/4 in. (33 x 17.2 cm)
AMICA Contributor: The Art Institute of Chicago
Owner Location: Chicago, Illinois, USA
ID Number: 1986.1410
Credit Line: The Art Institute of Chicago, Gift of Claire B. Zeisler in memory of A. James Speyer
Copyright: ? Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Context: Label Revision per Charlie Stuckey 11/29/90:Old Title: WineglassOld Date: 1912Old Medium: o/cRevised title, date, medium: The Glass. Evidently made in two stages, the front of the canvas painted around 1911; and the tape along the edge painted around late 1912.Reasons for change: New Historical research. See file.Label text approved 8/91 by Charles Stuckey: Pablo PicassoSpanish, 1881-1973; worked in France starting in 1904'The Glass,' 1911-12Oil on canvas and tapeGift of Claire B. Zeisler in memory of A. James Speyer, 1986.1410Wall text 7/8/92 (Charlie Stuckey)During the heyday of Cubism, from 1910 to 1914, small-scale paintings like this one comprised roughly fifteen percent of the total output of Pablo Picasso and Georges Braque. 'The Glass' played a special role in the revolution initiated by these artists. Cubism was a new, stylized visual language that used small geometric units to describe objects no differently from empty space. The characteristic transparency of a glass made it an especially popular motif for Cubist artists, since it provided the perfect demonstration of the integration of objects with the space surrounding them. A subtle feature of 'Glass' makes it an extraordinary work. On first examination, the tape around the edge appears no different from the tape borders often used by painters to hide loose canvas threads and the heads of the tacks that attach a canvas to its wooden stretcher. But with characteristic humor, after hiding these tacks underneath tape, Picasso painted little dots on the tape to represent, in realist fashion, what he had hidden. He may have intended this 'trompe l'oeil' ('fool the eye') as a reference to one of Braque's most controversial paintings, 'Still Life with Violin and Pitcher' of 1909-10, which includes a realistically painted nail casting a realistically painted shadow across an otherwise cubist painting. Picasso had begun to frame his little Cubist paintings in playful ways (using rope, for example) around the spring of 1912. At about the same time, Braque had begun to paste bits of printed paper into his paintings, initiating a hybrid medium called 'papiers collés' ('pasted paper,' or collage), combining the illusionism of painting with the reality of everyday objects.'The Glass' is among Picasso's most complex experiments in mixed techniques. When Picasso added the paper tape around the edge of the piece, he made a sort of 'papier collé,' transforming the two-dimensional painting into an essentially three-dimensional or sculptural object. The culmination of this train of thought occurred two years later. Picasso's subject was the same: he sculpted a glass in the Cubist manner, made an edition of six bronzes, and, finally, handpainted each differently as a unique painting/sculpture.Ill.:Pablo Picasso, 'The Glass of Absinthe,' 1914. Museum of Modern Art, New York.
AMICA ID: AIC_.1986.1410
AMICA Library Year: 2000
Media Metadata Rights: Copyright The Art Institute of Chicago, 2000

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