id: 135456
accession number: 1958.45
share license status: Copyrighted
url: https://clevelandart.org/art/1958.45
updated: 2019-08-13 08:00:15.759000
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
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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
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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:
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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 and Its Influence
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.
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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.)
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inscription: Signed upper left: "Picasso"
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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, 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 (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 (June 9-September 16, 2007); The Cleveland Museum of Art (organizer) (October 21, 2007-January 13, 2008); Frist Center for the Visual Arts (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts (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 (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 (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art (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-April 13, 2020).
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LEGACY EXHIBITIONS
* Washington DC The National Gallery of Art; Museum of Fine Arts Boston, "Picasso: The Early Years, 1892-1906" (March 30, 1997 - January 4, 1998) Detail p. 262, p. 323, no. 155.
Paris, France: Galeries Nationales du Grand Palais 3/10/00 - 6/26/00 "1900" exh. cat. no. 369, p. 328.
Paris: Galerie nationale du Jeu de Paume (2/19-5/15/01); Musée des Beaux-arts de Montréal (6/15-9/15/01), Picasso Érotique, exh. cat. no. 59, p. 193.
Paris: Musée National Picasso (3/16/2004 - 6/21/2004): "Picasso et Ingres." exh. cat. p. 83.
Museo Nacional del Prado (6/5/2006 - 9/10/2006): "Picasso: Tradición y Vanguardia", ex. cat. no. 5, p. 104-109.
Cleveland Museum of Art (10/15/2006 - 06/03/2007); The Metropolitan Museum of Art (03/04/2007 - 06/03/2007); "Barcelona & Modernity: Picasso, Gaudí. Miró, Dalí", fig. 7 (cat. 6:8), p. 242-245, repr. 244.
CMA (organizer). Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008; Frist Center for the Visual Arts, Nashville, TN, Feb. 21-June 1, 2008; Utah Museum of Fine Arts, Salt Lake City, UT, June 22 - September 21, 2008; and the Detroit Institute of Arts, MI, October 12, 2008 - January 18, 2009: "Modern Masters from the Cleveland Museum of Art"
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PROVENANCE
John Quinn, New York (1926); (P. Rosenberg, New York, 1928)
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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.
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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.
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RELATED WORKS
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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
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:
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IMAGES