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Collection:
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ADJUNCT MODULE D: WORLD ART
LocalCollection
ADJUNCT MODULE D: WORLD ART
Collection
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Preferred Title:
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Harlequin with a Mirror
Work_PrefTitle
Harlequin with a Mirror
Preferred Title
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Image View:
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Overall view without frame
Image_Title
Overall view without frame
Image View
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Creator:
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Pablo Picasso (Spanish painter, 1881-1973)
Agent_Display
Pablo Picasso (Spanish painter, 1881-1973)
Creator
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Location:
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repository: Museo Thyssen-Bornemisza (Madrid, Madrid, Spain) Inv. no. 709 (1979.87)
Work_Location_Type_D isplay
repository: Museo Thyssen-Bornemisza (Madrid, Madrid, Spain) Inv. no. 709 (1979.87)
Location
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Location Note:
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Paseo del Prado, 8
Work_LocationNotes
Paseo del Prado, 8
Location Note
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GPS:
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40.416111-3.695
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Date:
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1923 (creation)
Work_DateDisplay
1923 (creation)
Date
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Cultural Context:
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French
Work_Culture
French
Cultural Context
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Style Period:
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Twentieth century
Work_StylePeriodDisp lay
Twentieth century
Style Period
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Work Type 1:
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painting (visual work)
Work_Worktype1
painting (visual work)
Work Type 1
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Classification:
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Paintings
Work_Classification
Paintings
Classification
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Material:
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oil paint on canvas
Work_MaterialDisplay
oil paint on canvas
Material
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Technique:
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oil painting (technique)
Work_Technique
oil painting (technique)
Technique
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Measurements:
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100 cm (height) x 81 cm (width)
Work_MeasurementDisp lay
100 cm (height) x 81 cm (width)
Measurements
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Subjects:
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human figure; Commedia dell’arte; Performing arts; theater; acrobat; circus
Work_Image_SubjectDi splay
human figure; Commedia dell’arte; Performing arts; theater; acrobat; circus
Subjects
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Description:
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Initially intended as a self-portrait (as shown by x-rays), Harlequin with a Mirror combines three characters from the circus and the Commedia dell’arte that held a strong fascination for Picasso, and with which he identified: the two-cornered hat is a clear reference to Harlequin, the clothes are those of an acrobat, while Pierrot’s face conceals the artist’s identity. The solid figure of Harlequin, whose body takes up most of the composition, is evidence of a new artistic idiom inspired by the classical approach of the great masters, which Picasso had adopted after his visit to Italy in 1917. Europe’s interwar art scene was dominated by a return to classical ideas; later in 1923 Picasso returned to "curvilinear" Cubism. (Source: Thyssen-Bornemisza Museum [website]; https://www.museothy ssen.org/en/)
Work_Description_Sou rce
Initially intended as a self-portrait (as shown by x-rays), Harlequin with a Mirror combines three characters from the circus and the Commedia dell’arte that held a strong fascination for Picasso, and with which he identified: the two-cornered hat is a clear reference to Harlequin, the clothes are those of an acrobat, while Pierrot’s face conceals the artist’s identity. The solid figure of Harlequin, whose body takes up most of the composition, is evidence of a new artistic idiom inspired by the classical approach of the great masters, which Picasso had adopted after his visit to Italy in 1917. Europe’s interwar art scene was dominated by a return to classical ideas; later in 1923 Picasso returned to "curvilinear" Cubism. (Source: Thyssen-Bornemisza Museum [website]; https://www.museothy ssen.org/en/)
Description
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Collection:
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Archivision Adjunct Module D: World Art
LocalCollection
Archivision Adjunct Module D: World Art
Collection
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Identifier:
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7A1-PICASSO-TBM-HWM- A01
Image_OriginalVendor ID
7A1-PICASSO-TBM-HWM- A01
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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