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A superb impression of this major work.
In 1948, Picasso returned to Paris and, during a period of eight months, he executed relatively few paintings and concentrated his creative efforts in the medium of lithography.
In order to relate Picasso’s lithographs to the history of lithography as a whole, it is essential to understand the similarity of methods and approaches that align him with one earlier lithographer: Francisco Goya (1746-1828). Both of these artists loved the vigor of expression found in the works of Velasquez and both found special inspiration in the etchings, drawings and paintings of Rembrandt. Goya and Picasso also shared a fascination with virtually every form of printmaking and an interest in experimenting endlessly with all the technical possibilities and problems involved. In lithography, invented around 1798 (thus well after the deaths of Velasquez and Rembrandt), Goya, as seen in his Bullfight series of 1825, (see illustration below) and then later Picasso, each combined aesthetic and technical mastery with extraordinary capacities for inventiveness. Similar to Rembrandt’s attitude towards the etching plate, Goya and Picasso had a common perception of the lithographic stone as an entity to be obsessively attacked and re-attacked, worked and reworked, until every possible iota of expression has been wrenched from its stony surface.