id: 148214
accession number: 1975.2
share license status: Copyrighted
url: https://clevelandart.org/art/1975.2
updated: 2024-03-28 11:02:00.317000
Harlequin with Violin, 1918. Pablo Picasso (Spanish, 1881–1973). Oil on canvas; framed: 171 x 132 x 7.5 cm (67 5/16 x 51 15/16 x 2 15/16 in.); unframed: 142.2 x 100.3 cm (56 x 39 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1975.2 © Estate of Pablo Picasso / Artists Rights Society (ARS), New York
title: Harlequin with Violin
title in original language:
series:
series in original language:
creation date: 1918
creation date earliest: 1918
creation date latest: 1918
current location: 223 20th Century Avant-Garde
creditline: Leonard C. Hanna, Jr. Fund
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, 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: 171 x 132 x 7.5 cm (67 5/16 x 51 15/16 x 2 15/16 in.); Unframed: 142.2 x 100.3 cm (56 x 39 1/2 in.)
state of the work:
edition of the work:
support materials:
inscriptions:
inscription: Signed lower right: "Picasso / Montrouge 18"
translation:
remark:
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CURRENT EXHIBITIONS
title: Year in Review: 1975
opening date: 1976-02-03T05:00:00
Year in Review: 1975. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 3-March 7, 1976).
title: Pablo Picasso: A Retrospective
opening date: 1980-05-22T04:00:00
Pablo Picasso: A Retrospective. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).
title: Creativity in Art and Science, 1860-1960
opening date: 1987-09-16T04:00:00
Creativity in Art and Science, 1860-1960. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).
title: Picasso and Theatre (Parade, Pulcinella, Mercure)
opening date: 1996-11-19T00:00:00
Picasso and Theatre (Parade, Pulcinella, Mercure). Museu Picasso (organizer) (November 19, 1996-January 23, 1997).
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 Art Museum, 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 and the Circus
opening date: 2006-11-15T00:00:00
Picasso and the Circus. Museu Picasso, Barcelona, Spain (organizer) (November 15, 2006-February 18, 2007); Fondation Pierre Gianadda, Martigny, Switzerland (March 9-June 10, 2007).
title: Picasso: The Great War, Experimentation, and Change
opening date: 2016-02-13T00:00:00
Picasso: The Great War, Experimentation, and Change. The Barnes Foundation, Philadelphia, PA (February 21-May 9, 2016); Columbus Museum of Art, Columbus, OH (organizer) (June 10-September 11, 2016).
title: Picasso: The Artist and His Models
opening date: 2016-11-05T04:00:00
Picasso: The Artist and His Models. Albright-Knox Art Gallery, Buffalo, NY (organizer) (November 5, 2016-February 19, 2017).
title: Pablo Picasso between Cubism and Classicism, 1915-1925
opening date: 2017-09-21T04:00:00
Pablo Picasso between Cubism and Classicism, 1915-1925. Scuderie del Quirinale, Rome, Italy (organizer) (September 21, 2017-January 21, 2018).
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LEGACY EXHIBITIONS
* {'description': 'Picasso, Forty Years of his Art. Museum of Modern Art, New York, NY (1939).,', 'opening_date': '1939-01-01T00:00:00'}
* {'description': 'Picasso, an American Tribute. Paul Rosenberg & Co., New York, NY. (April 15-May 12, 1962).', 'opening_date': '1962-04-15T00:00:00'}
* {'description': ' Fifty Years of Modern Art. The Cleveland Museum of Art, Cleveland, OH (1966).', 'opening_date': '1966-01-01T00:00:00'}
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PROVENANCE
Sold to Paul Rosenberg, Paris, France
date:
footnotes:
citations:
John Quinn [1870-1924] New York, NY
date: 1926
footnotes:
citations:
(Paul Roseneberg, Paris, France and New York, NY, by 1937)
date: by 1937-
footnotes:
citations:
(Alexandre Rosenberg, New York, NY, 1975, sold to the Cleveland Museum of Art)
date: 1975
footnotes:
citations:
The Cleveland Museum of Art, Cleveland, OH
date: 1975-
footnotes:
citations:
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fun fact:
digital description:
wall description:
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RELATED WORKS
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CITATIONS
Barr, Alfred H. Picasso: Forty Years of His Art. New York, NY: Museum of Modern Art, 1939.
page number: Reproduced: no. 40
url:
Richardson, John. Picasso: an American Tribute. [Exhibition] April 25-May 12, 1962. New York, NY: Public Education Association, in cooperation with Chanticleer Press, 1962.
page number: Reproduced: in color, part III
url:
Cleveland Museum of Art, “Recent Acquisition Press Release,” February 18, 1975, Cleveland Museum of Art Archives.
page number:
url: https://archive.org/details/cmapr2234
Henning, Edward B. “Picasso: Harlequin with Violin (Si Tu Veux).” The Bulletin of the Cleveland Museum of Art 63, no. 1 (January 1976): 1–11.
page number: Reproduced: Cover, p. 4, fig. 5; Mentioned: p. 2-11
url: http://www.jstor.org/stable/25152619
Lee, Sherman E. “The Year in Review for 1975.” The Bulletin of the Cleveland Museum of Art 63, no. 2 (February 1976): 31–71.
page number: Reproduced: p. 48; Mentioned: p. 70, no. 139
url: http://www.jstor.org/stable/25152624
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. 242
url: https://archive.org/details/CMAHandbook1978/page/n262
Henning, Edward B. “Two New Cubist Paintings by Juan Gris and Pablo Picasso.” The Bulletin of the Cleveland Museum of Art 68, no. 2 (February 1981): 39–50.
page number: Mentioned and reproduced: p. 39-40, fig. 4
url: http://www.jstor.org/stable/25159711
Borowitz, Helen O. “Three Guitars: Reflections of Italian Comedy in Watteau, Daumier, and Picasso.” The Bulletin of the Cleveland Museum of Art 71, no. 4 (April 1984): 116–29.
page number:
url: http://www.jstor.org/stable/25159858
Henning, Edward B. Creativity in Art and Science, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.
page number: Reproduced: P. 49, pl. IV; Mentioned and reproduced: P. 116, no. 24
url:
Henning, Edward B. “A ‘Memento Mori’ by Picasso.” The Bulletin of the Cleveland Museum of Art 75, no. 8 (October 1988): 320–327.
page number: Mentioned and reproduced: p. 323-324, fig. 6
url: http://www.jstor.org/stable/25160045
Boggs, Jean Sutherland, Brigitte Léal, and Marie-Laure Bernadac. Picasso and Things: The Still Lifes of Picasso. Cleveland: Cleveland Museum of Art, 1992.
page number: Mentioned and reproduced: P.184, fig. 71a
url:
Cleveland Museum of Art. The CMA Companion: A Guide to the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 2014.
page number: Mentioned and reproduced: P. 297
url:
Keller, Mariah, Simonetta Fraquelli, Kenneth E. Silver, Elizabeth Cowling, and Dominique H. Vasseur. Picasso: The Great War, Experimentation, and Change. New York, NY: Scala, 2016
page number:
url:
Shields, Chris. "A New Model." Art & Antiques, (Nov. 2016): 70-77.
page number: Reproduced: p. 77
url:
Berggruen, Olivier. Picasso: tra cubismo e classicismo: 1915-1925. Milano : Skira, 2017.
page number: Reproduced: p. 105, pl. 5
url:
Berggruen, Olivier, ed. Picasso: Between Cubism and Classicism 1915-1925. Milano, Italy: Skira, 2017.
page number: Reproduced: p. 105, no. 5
url:
Henning, Edward B. Fifty Years of Modern Art, 1916-1966. Cleveland, OH: Cleveland Museum of Art, 1966.
page number: Reproduced: no. 9
url:
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IMAGES