🔥 RARE Vintage Modern Cubist PICASSO Enamel Portrait Painting, Bibi la Puree

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eBay This is a visually striking and RARE Vintage Modern Cubist PICASSO Enamel Portrait Painting on Copper, After Pablo Picasso’s 1901, very seldomly seen and little-known early work, Bibi la Puree. This artwork depicts the garish and humorous portrait of Andre-Josef Salis de Saglia (b.1847?), an infamous Parisian drunk, tramp, and thief who was given immortality through the writings of James Joyce and Paul Verlaine. A notorious absinthe connoisseur, the subject stares directly at the viewer through an entrancing and jubilant alcohol infused euphoria. His skin is pallid, his cheeks are ruddy, and his sharp angular face leads many to refer to this painting as Picasso’s Joker. A plaque affixed to the front of the frame reads: “Picasso. Bibi la Puree.” The origin of this enamel painting is in itself, very mysterious. This aforementioned 1901 artwork, upon which this enamel painting is a version of, has been in a private French collection since 1939, and was known by all curious Picasso collectors, scholars, and historians by one tiny black & white photograph in his catalogue raisonne. The owner of this painting refused to ever lend it to a museum, or to be examined, photographed, or exhibited. So how did someone back in the 1950’s – 1960’s (the assumed age of this piece) produce a detailed replica, which utilized the same exact color palette and brush strokes? Whoever created this piece must have been a friend or associate of the private collector himself, in order to gain such extensive access to this secretive early Picasso painting. (Please read the extensive information below to understand what I am referring to.) Based on my research, this painting was likely produced in Spain. This small gem is approximately 8 1/8 x 9 3/8 inches (including frame.) Actual visible artwork is approximately 3 3/4 x 4 3/4 inches. Good condition for age, with some mild – moderate scuffing, scratches and edge wear to the wooden frame, some slight separation to the upper right corner of this frame, and speckles of mild oxidation and pitting to the chrome inner frame (please see photos.) Acquired from an affluent old collection in Los Angeles County, California. Priced to Sell. The only other known enamel on copper painting of Bibi la Puree known to still exist, from the same edition as this one, is available online for over 25K! For the serious Picasso collector who has everything, but definitely not this. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! About this Artwork: Rarely seen Picasso portrait goes on display at the National Gallery (2012) Picasso, ‘Portrait of Bibi la Purée’, 1901 This arresting portrait of Bibi la Purée, a famous reprobate in turn-of-the century Paris, was painted by the 20-year-old Picasso when he returned to Paris in 1901 to prepare his first exhibition in the city at Galerie Vollard. Bibi la Purée was a picturesque figure in the bohemian circles of Montmartre and the Latin Quarter. A former actor turned vagabond, he was affable and eccentric and survived by shining shoes, stealing umbrellas and drinking absinthe. He occasionally acted as private secretary to the poet Paul Verlaine, who dedicated a sonnet to his friend. Picasso probably met the ragged dandy in the brasseries and seedy bars they both haunted, and would have been fascinated by his elderly, grimacing features. The portrait is brushed in broad, gestural strokes vigorously applied, which capture Bibi’s grin with uncompromising energy. This expressionistic treatment, combined with Picasso’s use of harsh colours, enhances the tramp’s grotesque energy. The painting has rarely been seen in public. It entered a private French collection in 1939 and has not been lent to any of the major Picasso exhibitions. It has been known in the Picasso literature only by a small black-and-white photograph and the vast majority of Picasso’s admirers will never have seen it ‘in the flesh’. It is on loan to the National Gallery from a private collection. The painting carries the National Gallery’s important portrait collection into the 20th century and relates to other images of Parisian bohemian and artistic circles in the Gallery by Manet, Degas, Toulouse-Lautrec and Vuillard. It shows how a new, young generation took up the almost violent expressionistic painting style of Van Gogh which was a revelation to Picasso when he arrived in Paris. It is like the clanging of a fire alarm at the end of the painting tradition which the National Gallery traces, announcing the dawn of a new world. Portrait of Bibi la Puree is now on display in Room 45 of the National Gallery. Why Picasso’s Joker trumps Van Gogh and Cézanne This article is more than 11 years old While others were besotted with beauty, Picasso showed a radical appetite for ugliness in his painting of the bohemian, Bibi la Purée, which has just gone on display at the National Gallery Pablo Picasso’s portrait of Bibi la Purée stands out bizarrely in the post-impressionist room at London’s National Gallery where it has just gone on view. The horrible complexion of this absinthe-drinking former actor, painted by the 20-year-old Picasso in Montmartre in 1901, is an uneasy interloper among Van Gogh’s Sunflowers and Cézanne’s Bathers. Even in this youthful work, the shocking radicalism and daring of Picasso glares from the wall like the awful flower in Bibi’s jacket. Grotesque, ugly and monstrous, this man could be an early design for The Joker or a junk-addled clown. Clearly the young Picasso was fascinated by the low life of Paris and drawn to the demi-monde where art met absinthe. If Bibi la Purée seems to belong to the world of Henri de Toulouse-Lautrec that’s because Toulouse-Lautrec was Picasso’s hero when he first encountered the art and atmosphere of Paris. The 20-year-old Spanish visitor here tries his hand at painting like the chronicler of Montmartre’s dancers and prostitutes. Being Picasso, his attempt at emulation turns into a work of uncomfortable originality. Seeing Picasso in the National Gallery, which has got the portrait of Bibi la Purée on long-term loan from a private collection, is tremendous. He belongs here. His art exploded out of the European traditions of art this museum exhibits, and all his life he engaged with the masters of earlier centuries as rivals, enemies, models. It is in the context of such a collection that you see his audacity to the full. This painting, in this collection, reveals Picasso’s revolutionary appetite for ugliness. Next to Bibi la Purée, the nearby paintings of Van Gogh and Cézanne seem besotted with a cult of beauty invented by the Renaissance. Their colours harmonise and they exult in nature. Picasso instead delights in coarsely ill-matched colours and a face pale and diseased from modern city life. He is really on to something here, in 1901, as he sees discord as the art of modern life. Les Demoiselles d’Avignon is just six years away. He will paint it in a studio in the same Montmartre where he met Bibi la Purée. Pablo Picasso’s Portrait of Bibi la Purée – An early Picasso, the audaciously ugly portrait of the last king of the Latin Quarter, Bibi la Purée, long-lost in a private collection, is now on display at the National Gallery. André-Joseph Salis de Saglia, as Picasso’s subject was formerly known, was probably born in 1847. A drunk, a tramp, and a thief; he was not long for this world but was given immortality through the writing of James Joyce and Paul Verlaine, and the painting of Théophile Steinlen and Picasso. They called him Bibi la Purée, a nickname based on the French slang dans la purée, meaning to be in dire straits. You look at him and his wicked little eyes look at you from their dark blue sockets, they are glazed; he is under the spel of la fée verte, the green fairy of the absinthe bottle. He is palid skinned, dark blue lines in his face cut a pointy nose, and there is something of the Joker, from Batman, in his smiling mouth. His cheeks are ruddy, alcoholic. He is bald on top and the wings of blue are swept back. He is the ugly side of La Bele Époque, dressed in the clothes people gave him; he wears his colar upturned and tied badly in a red cravat which flops into his waistcoat, then a loose fitting jacket, a clown’s flower stuffed through a button-hole. He was a flâneur, Bibi, a wondering dandy greeting al he encountered with extravagant musketeer gestures. He had once been an actor and there remains something of the thespian in Picasso’s portrait; he is theatrical in his pose and dress, and a comedic figure with his flower. Yet he was also a tragic figure, a figure of fun, who was likely dying of alcoholism. He had been factotum to the poet Verlaine since their meeting in 1886. The poet supported Bibi and Bibi in turn supported the poet, in the literal sense, helping him home from heavy drinking binges. Although some say it was the other way round and others that they could not tel who was helping who. In Au temps du quartier Louis Roseyre gives an account of the pair, during Verlaine’s final days, entering a cafe in the rue Soufflot: “Bibi-la-Puree came first, clearing a way through the crowd, so that the reeling poet . . . could find a seat. Verlaine fo lowed, painfuly, dragging his leg, and leaning on a stout stick. . . . He co lapsed on to a chair. . . . Suddenly my heart, the heart of a boy of eighteen, bled with grief and fear at the sight of this old man, whining and infirm, demanding another absinthe. I knew the legend; but realy Verlaine, this man who was trembling al over, this man with a dirty beard, his face half hidden by a filthy muffler, . . . Verlaine co lapsing on Bibi-la-Puree, with that horrible, grinning face, and a mouth slit to the ears, Bibi sme ling of rat, old rotten rat! . . . I have never been able to forget that sinister and pitiful vision.” Verlaine died in 1896. Without his poet Bibi got by shining shoes, se ling flowers and stealing things; he especia ly liked other people’s umbre las. Picasso returned to Paris in 1901, from a trip round Spain, he was 20-years-old. The Spaniard would likely have met Bibi where the two of them drank in the cafes of Montmartre and the Latin Quarter. He painted him in preparation for his first exhibition in the city, at Galerie Vo lard, which would comprise down and out drunks, tramps, prostitutes, and a l that bohemian street life. Blue is the dominant colour of the portrait. Picasso started painting in blue after he learned of the suicide of his friend, Carlow Casagemas, who shot himself in L’Hippodrome Café, Paris, 1901. Picasso sunk into a deeper and deeper depression and by the end of that year blue tones dominated his paintings. One can read the beginnings of the Blue Period in Portrait of Bibi la Purée, not only in the colour but the subject who likely died for his vices, at no age at a l, only a couple of years later. Bibi stands or stood should I say, or staggered I suppose, yes staggered; he staggered as a drunkenly wobbling monument to bohemia. He is straight out of a painting by Picasso’s hero, Toulouse Lautrec, who was likely an influence, but there is less paint, to put it simply: Picasso used thick rough marks like Van Gogh but they are looser than those of the Dutch post-impressionist; the portrait is loosely drawn, which I suppose one could also say of the subject. The loose brushwork suggests Bibi’s mad energy, gives him movement, lets you imagine him wondering around like an old drunk musketeer. About Pablo Picasso: Pablo Picasso (1881 – 1973) was active/lived in Spain, France. Pablo Picasso is known for Cubist painting and printmaking. Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. Picasso’s sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures, ceramics, theater sets, and costume designs. He painted his most famous work, Guernica (1937), in response to the Spanish Civil War; the totemic grisaille canvas remains a definitive work of anti-war art. At auction, a number of Picasso’s paintings have sold for more than $100 million. The indefatigable artist has been the subject of exhibitions at the world’s most prestigious institutions, from the Museum of Modern Art and Centre Pompidou to the Stedelijk Museum and Tate Modern. Museums: Boca Raton Museum of Art (Boca Raton, FL) California African American Museum (Los Angeles, CA) Flint Institute of Arts (Flint, MI) Godwin-Ternbach Museum, Queens College, CUNY (Flushing, NY) Kirkland Museum of Fine & Decorative Art (Denver, CO) Kresge Art Museum (East Lansing, MI) Minnesota Marine Art Museum (Winona, MN) Museum of Fine Arts, Boston (Boston, MA) Neuberger Museum of Art (Purchase, NY) Pensacola Museum Of Art (Pensacola, FL) Southern Alleghenies Museum of Art (Loretto, PA) Tate Modern/Tate Gallery, London (London, United Kingdom) The Fred Jones Jr. Museum of Art (Norman, OK) The Phillips Museum of Art (Lancaster, PA) University of Saint Joseph Art Gallery (West Hartford, CT) University of Wyoming Art Museum (Laramie, WY)

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