id: 135456 accession number: 1958.45 share license status: Copyrighted url: https://clevelandart.org/art/1958.45 updated: 2020-07-06 09:00:27.763000 The Harem , 1906. Pablo Picasso (Spanish, 1881-1973). Oil on canvas; framed: 174 x 130.5 x 11.4 cm (68 1/2 x 51 3/8 x 4 1/2 in.); unframed: 154.3 x 110 cm (60 3/4 x 43 5/16 in.); former: 163.2 x 120 x 6.1 cm (64 1/4 x 47 1/4 x 2 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.45 © Estate of Pablo Picasso / Artists Rights Society (ARS), New York title: The Harem title in original language: series: series in original language: creation date: 1906 creation date earliest: 1906 creation date latest: 1906 current location: creditline: Bequest of Leonard C. Hanna, Jr. copyright: © Estate of Pablo Picasso / Artists Rights Society (ARS), New York --- culture: Spain, 20th century technique: oil on canvas department: Modern European Painting and Sculpture collection: Mod Euro - Painting 1800-1960 type: Painting find spot: catalogue raisonne: --- CREATORS * Pablo Picasso (Spanish, 1881-1973) - artist Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world. --- measurements: Framed: 174 x 130.5 x 11.4 cm (68 1/2 x 51 3/8 x 4 1/2 in.); Unframed: 154.3 x 110 cm (60 3/4 x 43 5/16 in.); Former: 163.2 x 120 x 6.1 cm (64 1/4 x 47 1/4 x 2 3/8 in.) state of the work: edition of the work: support materials: inscriptions: inscription: Signed upper left: "Picasso" translation: remark: --- CURRENT EXHIBITIONS title: Picasso: The Early Years, 1892-1906 opening date: 1997-03-30T00:00:00 Picasso: The Early Years, 1892-1906. National Gallery of Art, Washington, DC (March 30-July 27, 1997); Museum of Fine Arts, Boston (September 10, 1997-January 4, 1998). title: 1900 opening date: 2000-03-10T00:00:00 1900. Galeries Nationales du Grand Palais, 75008 Paris, France (March 14-June 26, 2000). title: Picasso Erotique opening date: 2001-02-19T00:00:00 Picasso Erotique. Galerie national du Jeu de Paume, Paris, France (February 19-May 15, 2001); Montréal Museum of Fine Arts (June 15-September 15, 2001); Museu Picasso (October 25, 2001-January 20, 2002). title: Picasso et Ingres opening date: 2004-03-16T00:00:00 Picasso et Ingres. Musée National Picasso, Paris, France (March 16-June 21, 2004). title: Monet to Dalí: Modern Masters from the Cleveland Museum of Art opening date: 2006-05-27T00:00:00 Monet to Dalí: Modern Masters from the Cleveland Museum of Art. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Center for the Visual Arts, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009). title: Picasso: Tradición y Vanguardia opening date: 2006-06-05T00:00:00 Picasso: Tradición y Vanguardia. Museo Nacional del Prado, Madrid, Spain (organizer) (June 5-September 17, 2006). title: Barcelona & Modernity: Picasso, Gaudí, Miró, Dalí (1868-1939) opening date: 2006-10-15T00:00:00 Barcelona & Modernity: Picasso, Gaudí, Miró, Dalí (1868-1939). The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art, New York, NY (co-organizer) (March 4-June 3, 2007). title: Picasso and Paper opening date: 2020-01-25T05:00:00 Picasso and Paper. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (January 25-August 2, 2020) https://www.royalacademy.org.uk/exhibition/picasso-and-paper; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (September 22-December 13, 2020). --- LEGACY EXHIBITIONS --- PROVENANCE John Quinn [1870-1924], New York, NY date: by 1926 footnotes: citations: (P. Rosenberg, New York, NY, 1928) date: 1928 footnotes: citations: Leonard C. Hanna, Jr. [1889-1957], Cleveland, OH, by bequest to the Cleveland Museum of Art date: -1958 footnotes: citations: The Cleveland Museum of Art, Cleveland, OH date: 1958- footnotes: citations: --- fun fact: This painting dates from Picasso's Rose Period, named for the rosy pink and orange hues that dominate many of his compositions during this time. The Rose Period followed his Blue Period, and the colors are reflective of his mood. The Blue Period is connected to a period of depression following the death of his close friend Carlos Casagemas, while the happier tones of the Rose Period coincide with his happiness in his relationship with Fernande Olivier. digital description: wall description: Picasso painted this lyrical composition, one of his most important of the Rose Period (1904-6), in the remote village of Gósol in the Spanish Pyrenees. He based the composition on sketches of his lover, Fernande Olivier, combing her hair and bathing. Also inspired by J. A. D. Ingres's The Turkish Bath (Musée du Louvre), Picasso placed Fernande in the context of a harem. Thin veils of color suggest the ethereal odor of a perfume or the smoke from an opium pipe. --- RELATED WORKS --- CITATIONS The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. page number: Reproduced: p. 195 url: https://archive.org/details/CMAHandbook1969/page/n219 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. page number: Reproduced: p. 241 url: https://archive.org/details/CMAHandbook1978/page/n261 Asahi Shinbunsha. Pikaso: 20-seiki no kyoshō = Pablo Picasso. Tōkyō, Japan: Asahi Shinbunsha, 1995. page number: Reproduced: fig. 18 url: Chipp, Herschel Browning, Alan Wofsy, and Fernand Mourlot. Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973. San Francisco, CA: Alan Wofsy Fine Arts, 1995. page number: Reproduced: p. 185 url: McCully, Marilyn, ed. and Natasha Elena Staller. Picasso--the Early Years, 1892-1906. Washington, DC: National Gallery of Art, 1997. page number: Mentioned: p. 265-266; Reproduced: p.262, 264, 323 url: McCully, Marilyn. Picasso: Painter and Sculptor in Clay. London, United Kingdom: Royal Academy of Arts, 1998. page number: Reproduced: p. 30, fig. 20 url: Arnason, H. H., and Marla Prather. History of Modern Art: Painting, Sculpture, Architecture, Photography. New York, NY: Harry N. Abrams, Inc, 1998. page number: Reproduced: p. 302 url: 1900: Galeries nationales du Grand Palais, Paris, 14 mars-26 juin 2000. Paris, France: Réunion des Musées Nationaux, 2000. page number: Reproduced: p. 328 url: McCully, Marilyn. Picasso: scolpire e dipingere la ceramica. Ferrara, Italy: Ferrara arte, 2000. page number: Reproduced: p. 34 url: Galeries nationales du Grand Palais (France), Réunion des musées nationaux (France), and Musée d'Orsay. 1900: Galeries nationales du Grand Palais, Paris, 14 mars-26 juin 2000. Paris, France: Réunion des musées nationaux, 2000. page number: Reproduced: p. 328 url: Léal, Brigitte, Christine Piot, Marie-Laure Bernadac, and Pablo Picasso. The ultimate Picasso. New York, NY: Harry N. Abrams, 2000. page number: Reproduced: p. 101 url: Clair, Jean, ed. Picasso Érotique. Munich, London, New York: Prestel, 2001. page number: Reproduced: p. 193 url: Andersen, Wayne V. Picasso's Brothel: Les Demoiselles D'Avignon. New York, NY: Other Press, 2002. page number: Reproduced: p. 214, fig. 131 url: Picasso, Ingres: Paris, Musée Picasso, 16 mars-21 juin 2004 : Montauban, Muśee Ingres, 8 juillet-3 octobre 2004. Paris, France: Réunion des musées nationaux, 2004. page number: Reproduced: p. 83 url: Picasso, Ingres: Paris, Musée Picasso, 16 mars-21 juin 2004 : Montauban, Muśee Ingres, 8 juillet-3 octobre 2004. Paris, France: Réunion des musées nationaux, 2004. page number: Reproduced: p. 83 url: Widmaier-Picasso, Diana, and Pablo Picasso. Picasso: "Art Can Only Be Erotic". Munich, Germany: Prestel, 2005. page number: Reproduced: p. 35 url: Calvo Serraller, Francisco. Picasso: tradición y vanguardia: guía antológica de la exposición, Picasso, tradición y vanguardia Madrid, Spain: Fundación Amigos del Museo del Prado, 2006. page number: Mentioned: p. 16-17; Reproduced: p. 17 url: Robinson, William H., Jordi Falgàs, and Carmen Belen Lord. Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí. Cleveland, OH: Cleveland Museum of Art in association with Yale University Press, New Haven and London, 2006. page number: Mentioned: p. 242-247; Reproduced: p. 244 url: Salus, Carol. Some Early Celestina Drawings by Picasso. Valencia, Spain: Universitat die València, 2006. page number: Mentioned: p. 111-123; Reproduced: fig. 5 url: Yapou, Yanna. "From Guadi to Dali." Apollo: The International Magazine for Collectors CLXV no. 543 (April 2007): 98. page number: Reproduced: p. 98 url: Arikha, Avigdor, and Museo del Prado. El Museo Del Prado Y El Arte Contemporáneo : La Influencia De Los Grandes Maestros Del Pasado En El Arte De Vanguardia. Madrid, Spain: Fundación Amigos del Museo del Prado, 2007. page number: Reproduced: fig. 30 url: Dagen, Philippe. Picasso. New York, NY: Monacelli Press, 2009. page number: Reproduced: p. 71 url: Léal, Brigitte, Christine Piot, and Marie-Laure Bernadac. Picasso: The Monograph, 1881-1973. Barcelona, Spain: Ediciones Polígrafa, 2009. page number: Reproduced: p. 101 url: Cowling, Elizabeth, and Richard Kendall. Picasso Looks at Degas. Williamstown, MA: Sterling and Francine Clark Art Institute, 2010. page number: Mentioned and reproduced: p. 175-175 url: Rishel, Joseph J. Gauguin, Cézanne, Matisse: Visions of Arcadia. Philadelphia, PA : Philadelphia Museum of Art, 2012. page number: Reproduced: p. 90 url: Bozal Fernández, Valeriano. Historia de la pintura y la escultura del siglo XX en España. Boadilla del Monte Madrid, Spain: A. Machado Libros, 2013. page number: Reproduced: p. 101 url: Salus, Carol. Picasso and Celestina: The Artist's Vision of the Procuress. Newark, Delaware: Juan de la Cuesta, 2015. page number: Reproduced: p. 82, figure 17 url: Vallès, Eduard. Picasso: obra catalana. Barcelona: Enciclopèdia Catalana, 2015. page number: Reproduced: p. 286-[287] url: Mustalish, Rachel and Rebecca A. Rabinow. Picasso: de 'Pageses d'Andorra' a 'Demoiselles d'Avignon:' Un Viatge Romànic. [Andorra] : Govern d’Andorra, 2016. page number: Reproduced: p. 35, plate 22 url: Bouvier,Raphaël, ed.Picasso: The Blue and Rose Periods. Riehen/Basel, Switzerland: Fondation Beyeler; Berlin, Germany: Hatje Cantz, 2019. page number: Reproduced: P. 210 url: --- IMAGES