1969
See also : Top 10 Painting Bacon Bacon 1963-70 Hockney UK II Twombly Richter < 1986 Picasso from 1961 Zhang Daqian The Man Self portrait Animals Alps Mountains in China Cities
1969 How Bacon caught Freud
2013 SOLD 142 M$ including premium
As early as 1944, the triptych is the favorite medium of Bacon. The three perspectives cancel the plane of the canvas to provide to the viewer the mental illusion of a three-dimensional space.
Heads in small sizes often come to auction, but larger works are exceptional. On November 12 in New York, Christie's sells Three Studies of Lucian Freud, three oils on canvas painted in 1969, 198 x 148 cm for each element.
The two artists have been friends for nearly a quarter of century. Francis is in his George Dyer period and his appeal to Lucian has no reason to be erotic. Always looking for a total empathy with his entourage, Bacon pays tribute to a rival whom he admires. The seating position is gentle, but the colors and deformities of the face express the passions, in front of a strident yellow background.
Bacon locked Freud in a threadlike prism, similar to a squaring but proving his intent of the three-dimensional nature of the triptych. This desire to control his friend is fictional and symbolic because Bacon, as almost every time, worked this triple portrait from photos made by John Deakin.
Christie's does not indicate an estimate but compares the importance of this work with the triptych of the same size sold for $ 86M including premium by Sotheby's on 14 May 2008. Painted in 1976, this work is more symbolic but also less three-dimensional due to the decomposition of the body in the central picture.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
The auction sale of this triptych was an important event that Christie's has successfully managed : sold for $ 142M including premium.
The low resolution image below is shared by Wikimedia for fair use :
Heads in small sizes often come to auction, but larger works are exceptional. On November 12 in New York, Christie's sells Three Studies of Lucian Freud, three oils on canvas painted in 1969, 198 x 148 cm for each element.
The two artists have been friends for nearly a quarter of century. Francis is in his George Dyer period and his appeal to Lucian has no reason to be erotic. Always looking for a total empathy with his entourage, Bacon pays tribute to a rival whom he admires. The seating position is gentle, but the colors and deformities of the face express the passions, in front of a strident yellow background.
Bacon locked Freud in a threadlike prism, similar to a squaring but proving his intent of the three-dimensional nature of the triptych. This desire to control his friend is fictional and symbolic because Bacon, as almost every time, worked this triple portrait from photos made by John Deakin.
Christie's does not indicate an estimate but compares the importance of this work with the triptych of the same size sold for $ 86M including premium by Sotheby's on 14 May 2008. Painted in 1976, this work is more symbolic but also less three-dimensional due to the decomposition of the body in the central picture.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
The auction sale of this triptych was an important event that Christie's has successfully managed : sold for $ 142M including premium.
The low resolution image below is shared by Wikimedia for fair use :
1969 Curator and Partner
2019 SOLD for £ 38M including premium
Looking for sexual freedom, David Hockney arrives in California in 1964. The easy life nevertheless does not answer his questioning about communication within a couple.
Between 1968 and 1977 he makes double portraits in very large format, 214 x 305 cm. He alternates between homosexual and heterosexual couples and ends the series with his own parents, clearly assessing that his concern is no longer sex but dialogue. The sitters are most often identified in the title and are very recognizable.
Invariably the two characters are distant from each other with a deliberately orthogonal gazing. In this strange intimacy, the painter is an invisible social voyeur.
Installed again in London in 1968, he does not neglect America. The Metropolitan Museum of Art in New York is preparing a major exhibition that will reveal post-war American art to the general public. The curator of this important cultural operation is the highly influential Henry Geldzahler.
Hockney arrives in Geldzahler's living room in Manhattan with his sketchbook, polaroid camera and flu. Back in his studio in London, he paints in 1969 'Henry Geldzahler and Christopher Scott'. This acrylic on canvas will be sold by Christie's in London on March 6, lot 8. The December 17 press release announces an estimate in excess of £ 30M.
The two men could not be more dissimilar and yet their life as a couple is sustainable. Robust and confident in himself, Geldzahler is comfortably seated in the middle of a beautiful sofa worthy of the greatest Art Deco collections. On the right, his young partner is standing, dressed in a raincoat too big for him and as stiff as the floor lamp. The scene is located by the skyscrapers beyond the small window.
Between 1968 and 1977 he makes double portraits in very large format, 214 x 305 cm. He alternates between homosexual and heterosexual couples and ends the series with his own parents, clearly assessing that his concern is no longer sex but dialogue. The sitters are most often identified in the title and are very recognizable.
Invariably the two characters are distant from each other with a deliberately orthogonal gazing. In this strange intimacy, the painter is an invisible social voyeur.
Installed again in London in 1968, he does not neglect America. The Metropolitan Museum of Art in New York is preparing a major exhibition that will reveal post-war American art to the general public. The curator of this important cultural operation is the highly influential Henry Geldzahler.
Hockney arrives in Geldzahler's living room in Manhattan with his sketchbook, polaroid camera and flu. Back in his studio in London, he paints in 1969 'Henry Geldzahler and Christopher Scott'. This acrylic on canvas will be sold by Christie's in London on March 6, lot 8. The December 17 press release announces an estimate in excess of £ 30M.
The two men could not be more dissimilar and yet their life as a couple is sustainable. Robust and confident in himself, Geldzahler is comfortably seated in the middle of a beautiful sofa worthy of the greatest Art Deco collections. On the right, his young partner is standing, dressed in a raincoat too big for him and as stiff as the floor lamp. The scene is located by the skyscrapers beyond the small window.
1969 Study for Bullfight by Bacon
2007 SOLD for $ 46M including premium by Sotheby's
narrated in 2020
Life is a struggle that must include risks. Michel Leiris is looking for a ritual to explain his conception of literature. He finds bullfighting, this game in public between man and beast of which one of them will die. In 1938 he publishes an essay titled Miroir de la Tauromachie.
Francis Bacon, existentialist artist, was familiar with the work of Leiris, famous for his reciprocal influence with Sartre. In 1966 Leiris presented to Bacon a copy of his Miroir. Bacon sees in it a new theme for his art, with a sexual allusion in the physical rapprochement between man and bull. He finds photos in the memory book of the matador Antonio Ordóñez.
In 1969 Bacon prepares canvases 200 x 148 cm, probably for the project of a triptych. Two versions, Study for Bullfight No. 1 and No. 2, show the instant action when the bull passes the matador's cape. The arena is a circular area without background, with a tall concave screen in which the artist installs the crowd of spectators.
The sexual excitement is not achieved in these realistic images. His Second Version of Study for Bullfight No. 1 displays two major modifications. The screen is now empty, accentuating the intimacy of the two protagonists of the action. In the foreground, a spermatozoid is disproportionately enlarged, and released from a human shadow on which it had been placed.
Second Version of Study for Bullfight No. 1 was sold for $ 46M including premium by Sotheby's on November 14, 2007, lot 29.
As far as bullfight is concerned, Bacon is neither Hemingway nor Picasso. He probably appreciates that it is illusory to go forward on this theme with his too limited experience of corridas. His torero with a blackened face cannot appeal the aficionados. He will not execute the triptych.
Francis Bacon, existentialist artist, was familiar with the work of Leiris, famous for his reciprocal influence with Sartre. In 1966 Leiris presented to Bacon a copy of his Miroir. Bacon sees in it a new theme for his art, with a sexual allusion in the physical rapprochement between man and bull. He finds photos in the memory book of the matador Antonio Ordóñez.
In 1969 Bacon prepares canvases 200 x 148 cm, probably for the project of a triptych. Two versions, Study for Bullfight No. 1 and No. 2, show the instant action when the bull passes the matador's cape. The arena is a circular area without background, with a tall concave screen in which the artist installs the crowd of spectators.
The sexual excitement is not achieved in these realistic images. His Second Version of Study for Bullfight No. 1 displays two major modifications. The screen is now empty, accentuating the intimacy of the two protagonists of the action. In the foreground, a spermatozoid is disproportionately enlarged, and released from a human shadow on which it had been placed.
Second Version of Study for Bullfight No. 1 was sold for $ 46M including premium by Sotheby's on November 14, 2007, lot 29.
As far as bullfight is concerned, Bacon is neither Hemingway nor Picasso. He probably appreciates that it is illusory to go forward on this theme with his too limited experience of corridas. His torero with a blackened face cannot appeal the aficionados. He will not execute the triptych.
1969 Twombly in Bolsena
2015 SOLD for $ 43M including premium
Cy Twombly went to locate his artworks instead of attributing a title. This practice allows us now to consider how much his stay in Bolsena from May to October 1969 marked a turning point in his art.
Bolsena is in the former Latium but Twombly already moved away from the real or fancy graffiti in the Coliseum. The color stains expressing the bloody dramas of heroic antiquity are no more exciting him. Color is limited to pencil lines competing with gray on large painted canvases.
Aged 41, the artist is certainly less sensitive to pornography and more to communication. His new style is comparable to a graffiti whose insignificant details form an opulent waterfall through the spontaneity of the artist's gesture .
One of his Untitled (Bolsena) 200 x 240 cm was sold for $ 15.4M including premium by Sotheby's on May 13, 2013. Another canvas of same size is estimated $ 35M for sale by Christie's in New York on May 13, lot 43B.
During the same stay in Bolsena, Twombly used the same format for exploring his variant of the white graffiti on black, started two years earlier. One such Untitled was sold for $ 6.2 million including premium by Phillips on 10 May 2012.
This research anticipates the outstanding series of blackboards made on the following year in New York and Rome, particularly disturbing by their false approach to writing and graphology. One of them, 156 x 190 cm, was sold for $ 70M including premium by Christie's on November 12, 2014.
Bolsena is in the former Latium but Twombly already moved away from the real or fancy graffiti in the Coliseum. The color stains expressing the bloody dramas of heroic antiquity are no more exciting him. Color is limited to pencil lines competing with gray on large painted canvases.
Aged 41, the artist is certainly less sensitive to pornography and more to communication. His new style is comparable to a graffiti whose insignificant details form an opulent waterfall through the spontaneity of the artist's gesture .
One of his Untitled (Bolsena) 200 x 240 cm was sold for $ 15.4M including premium by Sotheby's on May 13, 2013. Another canvas of same size is estimated $ 35M for sale by Christie's in New York on May 13, lot 43B.
During the same stay in Bolsena, Twombly used the same format for exploring his variant of the white graffiti on black, started two years earlier. One such Untitled was sold for $ 6.2 million including premium by Phillips on 10 May 2012.
This research anticipates the outstanding series of blackboards made on the following year in New York and Rome, particularly disturbing by their false approach to writing and graphology. One of them, 156 x 190 cm, was sold for $ 70M including premium by Christie's on November 12, 2014.
1969 Weightlessness in Bolsena
2020 SOLD for $ 39M including premium
Cy Twombly likes to find inspiration in Italy. In 1969 he spends the summer in a Renaissance palace above Lake Bolsena, where he isolates himself to deepen his quest about the primordial generation of human energy through movement. He works with house paint, lead or graphite, wax pencil and sometimes felt-tip pen on canvases 200 x 240 cm.
When he arrives in Bolsena in May, he tries to reinterpret his blackboards without the pseudo-writing in loops. The result is rather austere. An opus was sold for $ 6.2M including premium by Phillips de Pury on May 10, 2012.
He suddenly finds, like everyone else during that summer, a keen interest in the Apollo 11 lunar mission. Temporarily renouncing the dark background, he distributes his floating forms on a cream or off-white surface. Rectangles and numerals replace in this waterfall his signature graffitis of the antique passions.
Fourteen Untitled (Bolsena) respond to this new trend. One of them is very precisely dated July 10, 1969, during the preparation phase of the rocket. It was sold for $ 43M including premium by Christie's on May 13, 2015. Another one was sold for $ 15.4M including premium by Sotheby's on May 13, 2013.
Another opus from the same series is estimated $ 35M for sale by Christie's in New York on October 6, lot 16.
When he arrives in Bolsena in May, he tries to reinterpret his blackboards without the pseudo-writing in loops. The result is rather austere. An opus was sold for $ 6.2M including premium by Phillips de Pury on May 10, 2012.
He suddenly finds, like everyone else during that summer, a keen interest in the Apollo 11 lunar mission. Temporarily renouncing the dark background, he distributes his floating forms on a cream or off-white surface. Rectangles and numerals replace in this waterfall his signature graffitis of the antique passions.
Fourteen Untitled (Bolsena) respond to this new trend. One of them is very precisely dated July 10, 1969, during the preparation phase of the rocket. It was sold for $ 43M including premium by Christie's on May 13, 2015. Another one was sold for $ 15.4M including premium by Sotheby's on May 13, 2013.
Another opus from the same series is estimated $ 35M for sale by Christie's in New York on October 6, lot 16.
1969 Self Portrait by Bacon
2007 SOLD for $ 33M by Sotheby's
Link to catalogue.
1969 Mousquetaire à la pipe by Picasso
2013 SOLD for $ 31M including premium by Sotheby's
Link to catalogue.
1969 Incoming of Mosqueteros into Modern Art
2015 SOLD for $ 22.6M including premium
In 1966, Pablo Picasso is recovering. Despite his fragile health, the artist has kept his frenzy of creation, but his relationship to the world has changed. He no longer travels and is afraid of being jostled by a crowd.
His Musketeers are an offshoot of the masculinity that still excites the old man, but it is difficult to regard them as self-portraits. They are instead his companions of adventures. The temperament of the male transcends time: Picasso compares the soldiers from Rembrandt's time with the hippies of the sexual revolution.
The art of Picasso becomes a wink of complicity with youth. For the first time, his theme is decidedly humorous. The French boys, always fans of Alexandre Dumas, are delighted. They do not consider the dominant red and gold of these paintings that also mark the artist's refusal to return to Franco's Spain. Art critics are skeptical, except Zervos.
Pablo combines his own styles within that series as he has done since the early 1930s. A decidedly cubist Mousquetaire à la pipe, oil on canvas 195 x 130 cm painted on March 5, 1969, was sold for $ 31M including premium by Sotheby's on November 6, 2013 from a lower estimate of $ 12M.
L'Homme à l'épée, oil on canvas 146 x 114 cm painted on July 25, 1969 during the preparation of the Woodstock festival, is undoubtedly a hidalgo. He is a bodyguard of the old artist in his approach to the new world. The face that is only slightly deformed outside the aggressive gaze is perhaps a tribute to Velazquez. On the following year, Picasso approves the choice of this picture for the poster of the exhibition of his most recent art in Avignon.
L'Homme à l'épée was sold for £ 7M including premium by Sotheby's on June 24, 2009. It is for sale by Christie's in New York on November 9, lot 20A, with a minimum price guarantee which was not disclosed, as usual in such a case.
His Musketeers are an offshoot of the masculinity that still excites the old man, but it is difficult to regard them as self-portraits. They are instead his companions of adventures. The temperament of the male transcends time: Picasso compares the soldiers from Rembrandt's time with the hippies of the sexual revolution.
The art of Picasso becomes a wink of complicity with youth. For the first time, his theme is decidedly humorous. The French boys, always fans of Alexandre Dumas, are delighted. They do not consider the dominant red and gold of these paintings that also mark the artist's refusal to return to Franco's Spain. Art critics are skeptical, except Zervos.
Pablo combines his own styles within that series as he has done since the early 1930s. A decidedly cubist Mousquetaire à la pipe, oil on canvas 195 x 130 cm painted on March 5, 1969, was sold for $ 31M including premium by Sotheby's on November 6, 2013 from a lower estimate of $ 12M.
L'Homme à l'épée, oil on canvas 146 x 114 cm painted on July 25, 1969 during the preparation of the Woodstock festival, is undoubtedly a hidalgo. He is a bodyguard of the old artist in his approach to the new world. The face that is only slightly deformed outside the aggressive gaze is perhaps a tribute to Velazquez. On the following year, Picasso approves the choice of this picture for the poster of the exhibition of his most recent art in Avignon.
L'Homme à l'épée was sold for £ 7M including premium by Sotheby's on June 24, 2009. It is for sale by Christie's in New York on November 9, lot 20A, with a minimum price guarantee which was not disclosed, as usual in such a case.
1969 The Mountain of the Marshals
2019 SOLD for HK$ 163M including premium
Zhang Daqian had fled the Communist China. In his Garden of the Eight Virtues near Sao Paulo, he develops an art inspired both by Expressionism and by traditional Chinese graphic art. He travels and exhibits a lot during this period. In 1968 he is named honorary doctor by a college in Taiwan.
Also in 1968, Zhang leaves Brazil to relocate in California where he meets other exiles, including Zhang Xueliang's daughter with her husband.
Succeeding in 1928 to his father Zhang Zuolin murdered by the Japanese, Zhang Xueliang had been one of the most powerful warlords, operating from Manchuria and nicknamed the Young Marshal. Assigned to residency since 1936 for temporarily bringing Chiang Kai-shek to negotiate with the Communists against the Japanese, he was forced to follow in 1949 the exode of the Kuomintang to Taiwan.
Zhang Zuolin, the Old Marshal, was a poor peasant. The two "Marshals", father and son, loved to locate their origins in the Yiwulu Mountains, one of the most beautiful landscapes of Manchuria. Still stuck in Taiwan, Zhang Xueliang became a refined poet, connoisseur and collector. To inspire his friend Zhang Daqian, he composed a poetic essay on the ever green beauty of his beloved mountain.
On April 2 in Hong Kong, Sotheby's sells an imaginary view of the Yiwulu Mountains, splashed ink and colors on paper 101 x 196 cm painted in 1969 by Zhang Daqian and dedicated by him to the daughter and son-in-law of Zhang Xueliang, lot 1415 estimated HK $ 50M.
In a style where a realistic illusion takes precedence over the abstraction that had dominated his landscapes in the previous years, this artwork can be compared with a view of non-located hills under the snows of spring, 68 x 138 cm, painted in the same year, sold for HK $ 42M including premium by Christie's on November 28, 2017.
Please watch the video shared by Sotheby's.
Also in 1968, Zhang leaves Brazil to relocate in California where he meets other exiles, including Zhang Xueliang's daughter with her husband.
Succeeding in 1928 to his father Zhang Zuolin murdered by the Japanese, Zhang Xueliang had been one of the most powerful warlords, operating from Manchuria and nicknamed the Young Marshal. Assigned to residency since 1936 for temporarily bringing Chiang Kai-shek to negotiate with the Communists against the Japanese, he was forced to follow in 1949 the exode of the Kuomintang to Taiwan.
Zhang Zuolin, the Old Marshal, was a poor peasant. The two "Marshals", father and son, loved to locate their origins in the Yiwulu Mountains, one of the most beautiful landscapes of Manchuria. Still stuck in Taiwan, Zhang Xueliang became a refined poet, connoisseur and collector. To inspire his friend Zhang Daqian, he composed a poetic essay on the ever green beauty of his beloved mountain.
On April 2 in Hong Kong, Sotheby's sells an imaginary view of the Yiwulu Mountains, splashed ink and colors on paper 101 x 196 cm painted in 1969 by Zhang Daqian and dedicated by him to the daughter and son-in-law of Zhang Xueliang, lot 1415 estimated HK $ 50M.
In a style where a realistic illusion takes precedence over the abstraction that had dominated his landscapes in the previous years, this artwork can be compared with a view of non-located hills under the snows of spring, 68 x 138 cm, painted in the same year, sold for HK $ 42M including premium by Christie's on November 28, 2017.
Please watch the video shared by Sotheby's.
1969 Rothko dissolved in his Light
2018 SOLD for $ 19M including premium
For Mark Rothko 1969 is a year of frenetic creation. His wife has just left him and his illness is getting worse. He has no other occupation than his art. Monitored by doctors he can no longer work in large formats, at least temporarily.
The most important American abstract artists, Pollock and Rothko, both appreciated that paper could offer a better final brightness than canvas. Certainly for reasons of fragility and of conservation of the paper, their career was however mostly done with canvases.
During this critical phase which will be in remission before the end of the year, Rothko focuses on the luminous properties of his colors on paper, generally not exceeding 40 inches. Most of these papers are mounted on canvas.
Rothko brings to this new phase his experience of two decades in the choice of pigments. Many of his works in this pathetic series have a dark texture that does not exclude a high radiance. Clear compositions are rarer and may reflect short lived phases of optimism.
The vibrating reds then have a dominant role, even when their surface is restricted to the edge and the interstices. A large red and yellow oil on paper 134 x 103 cm was sold for $ 11M including premium by Christie's on November 15, 2017.
An example in pearly white and orange of this quest for ultimate brightness is for sale by Sotheby's in New York on May 16. The scarlet red is thin but contributes to the powerful balance. This oil on paper 99 x 65 cm mounted on canvas is estimated $ 7M, lot 5 in the sale of the Mandel collection. Please watch the video shared by the auction house.
The most important American abstract artists, Pollock and Rothko, both appreciated that paper could offer a better final brightness than canvas. Certainly for reasons of fragility and of conservation of the paper, their career was however mostly done with canvases.
During this critical phase which will be in remission before the end of the year, Rothko focuses on the luminous properties of his colors on paper, generally not exceeding 40 inches. Most of these papers are mounted on canvas.
Rothko brings to this new phase his experience of two decades in the choice of pigments. Many of his works in this pathetic series have a dark texture that does not exclude a high radiance. Clear compositions are rarer and may reflect short lived phases of optimism.
The vibrating reds then have a dominant role, even when their surface is restricted to the edge and the interstices. A large red and yellow oil on paper 134 x 103 cm was sold for $ 11M including premium by Christie's on November 15, 2017.
An example in pearly white and orange of this quest for ultimate brightness is for sale by Sotheby's in New York on May 16. The scarlet red is thin but contributes to the powerful balance. This oil on paper 99 x 65 cm mounted on canvas is estimated $ 7M, lot 5 in the sale of the Mandel collection. Please watch the video shared by the auction house.
1969 The Sublime Landscape of Gerhard Richter
2015 SOLD for £ 15.8M including premium
From his beginnings in the 1960s with his recuperation of blurry photos, Gerhard Richter questioned the meaning of art in the society. In parallel, he perfected his technique of brushstrokes to create subtle color variations that will characterize the rest of his career.
In 1969, he already appears both as an excellent practitioner and as a theorist. Admirer of Friedrich, Richter appreciates that the romantic paintings of landscapes are timeless because the landscapes have no soul. The fact that the most beautiful natural sites are universally considered as sublime is a paradox that the perfection of his own art will unveil, or rather denounce.
In his library of images, Richter chooses Lake Lucerne (Vierwaldstätter See) in the violent backlighting of a cloudy day. All the elements converge for his purposed demonstration: the mountains in the shadow or in the fog, the variations of sky and water and the reflections on the lake.
The lines are blurred like the edges of Rothko's rectangles. Richter brings a sumptuous variation of shades by spreading a dry brush on the wet canvas, two decades before extending his use of the squeegee in abstract art.
His view of Lake Lucerne is supposed to compete altogether with nature and Turner. This oil on canvas 120 x 150 cm will be sold by Christie's in London on February 11, lot 8.
In 1969, he already appears both as an excellent practitioner and as a theorist. Admirer of Friedrich, Richter appreciates that the romantic paintings of landscapes are timeless because the landscapes have no soul. The fact that the most beautiful natural sites are universally considered as sublime is a paradox that the perfection of his own art will unveil, or rather denounce.
In his library of images, Richter chooses Lake Lucerne (Vierwaldstätter See) in the violent backlighting of a cloudy day. All the elements converge for his purposed demonstration: the mountains in the shadow or in the fog, the variations of sky and water and the reflections on the lake.
The lines are blurred like the edges of Rothko's rectangles. Richter brings a sumptuous variation of shades by spreading a dry brush on the wet canvas, two decades before extending his use of the squeegee in abstract art.
His view of Lake Lucerne is supposed to compete altogether with nature and Turner. This oil on canvas 120 x 150 cm will be sold by Christie's in London on February 11, lot 8.
1969 The Green Bearded Artist
2016 SOLD for $ 18.4M including premium
After more than one year in convalescence, Pablo Picasso takes his brushes again in February 1967. Aged 86, he is too old for being excited by women and his art enters a new phase. The theme of the Mousquetaires is funny and invites him to reinterpret in his own way the masters of the past.
L'Homme à la pipe painted on May 8, 1969 joins this movement with other features. He is not a mosquetero but an artist. The heavy beard and the hat in the style of a canotier even allows to identify an impressionist. The beard is green, providing a link between the pioneers of outdoor painting and the desire of a return to the land expressed by the new generations.
Young people are indeed restless at that time, with the protest movements of 1968 and the Woodstock festival in the following year. They are more appealed by this new style of Picasso than by Van Dyck or Velazquez. The images of Pablo are sharp, without those cubist distortions of the faces that were beginning to bother his own admirers.
L'Homme à la pipe is a larger than life oil on canvas 195 x 130 cm. It was sold for $ 11.8M including premium by Sotheby's on November 7, 2007. It is estimated $ 15M for sale by Christie's in New York on November 16, lot 26 B.
L'Homme à la pipe painted on May 8, 1969 joins this movement with other features. He is not a mosquetero but an artist. The heavy beard and the hat in the style of a canotier even allows to identify an impressionist. The beard is green, providing a link between the pioneers of outdoor painting and the desire of a return to the land expressed by the new generations.
Young people are indeed restless at that time, with the protest movements of 1968 and the Woodstock festival in the following year. They are more appealed by this new style of Picasso than by Van Dyck or Velazquez. The images of Pablo are sharp, without those cubist distortions of the faces that were beginning to bother his own admirers.
L'Homme à la pipe is a larger than life oil on canvas 195 x 130 cm. It was sold for $ 11.8M including premium by Sotheby's on November 7, 2007. It is estimated $ 15M for sale by Christie's in New York on November 16, lot 26 B.
