Le Sauvetage de la Noyee II (s.8698)
The rescue of the drowned II
Medium: Original Etching, printed with tone, 18th December 1932 , signed by the artist in pencil, with full margins, on verge blanc mince without a watermark
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octubre, 2001 – 20/27 enero, 2002). New York: Prestel. 2001. (131)
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Edition: 17/50 (there were 19 additional artist’s proofs numbered in Roman numerals, and three unsigned and unnumbered proofs in this edition).
Printed by: Frelaut, Paris in 1961
Published by: Galerie Louis Leiris, Paris
Size: 327 x 376 mms (Sheet size) ; 158 x 199 mms (Plate size)
Note: In May 1931, Picasso moved into the Chateau de Boisgeloup, which was conveniently close to Paris. He turned the stables into a workshop, where he set up Louis Fort’s printing press a bit later. This marked the start of a whole series of experiments in engraving . In the summer of 1932, the artist’s wife Olga and son, Paulo , left for Juan-les-Pins. Picasso himself stayed on at Boisgeloup and many paintings and drawings dating June, July, August, September and October 1932 bear the annotation “Boisgeloup”. It is believed that Marie-Therese, Picasso’s mistress, may have paid a few brief visits to Boisgeloup, although this is not known for sure. She certainly was spending time on the beaches – several photographs of her from this time exist. In August and September, the artist produced a series of canvases representing women bathing at the beach.
Between the 4th and 15th of September, Picasso executed a series of about twenty very small paintings, all of which represent women frolicking on the beach. Some are naked, some wear highly coloured bathing costumes, all of them are playing like children. The paintings are gay, burlesque and “cartoon-like.” The women have amoeba-like anatomy pushing and pulling in different directions, and sometimes bend their bodies with the professional movements of Picasso’s circus acrobats of February 1933. The meaning of this series may be gleaned from a small canvas, dated September 30, where a satyr is chasing a similar group of naked young virgins. Picasso made no prints during the summer, but at the end of November and the beginning of December in Paris he revisited the theme of bathing women, this time on zinc and copper plates. The result is some twenty small images. The series ended with three somewhat larger compositions, the sauvetages (life-saving). Here there is a difference with the woman of the canvases: surrounded by curious, even monstrous shapes, Marie-Therese is always there, always beautiful. In the “sauvetages” she again has multiple embodiments, one of them as an unconscious, perhaps drowned swimmer. This rescue scene is an allusion to a real story in which Marie-Therese nearly drowned before Picasso’s eyes – an experience which left him deeply shaken. The artist may have imagined that his young lover was the innocent victim of his vengeful wife, Olga, who did threaten to murder her rival, Marie-Therese. The series of works of which this is one owe much to the Surrealist movement with which the artist was involved between 1925 and 1937. Picasso had taken part in the Surrealists first exhibition and gave his permission for many of his works to be reproduced in Surrealist publications. Much to the disgust of the Surrealist leader, Andre Breton, Picasso was never a devoted follower of the movement and ultimately turned away from it.
Musee Picasso, Paris ; Bibliotheque Nationale, Paris
Bibliotheque Nationale, Paris