Jacqueline au Bandeau de Face, 1962
signed and numbered 49/50 in pencil
linocut in colours, on Arches wove paper
75 x 61.8cm (29 1/2 x 24 5/16in).
Printed by Hidalgo Arnéra, Vallauris, published by Galerie Louise Leiris, Paris

Footnotes

Literature
Georges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.1069).
Geiser & Baer,Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume V, 1959-1965, Berne, 1989 (B.1303.B.a).

It was at the Madoura pottery in Vallauris where Picasso met his
second wife and final muse, Jacqueline Roque. 46 years the artist's
junior, she was the subject of the greatest number of portraits in all
media, including printmaking. A classic beauty, she is always recognizable by her dark, shoulder length hair, striking almond eyes and a straight nose following the lineof the forehead. Picasso often combined this fearsome profile with an
en face view with the cubist technique of multiple perspectives into the
organic language of forms and bringing out a liveliness of expression.

Picasso was 78 years old when he took up the technique of linocut.
He had permanently moved to the South of France, dividing his time
between La Californie in Cannes and the newly bought Château de
Vauvenargues in Aix-en-Provence. He had met in Vallauris a local
younger printer named Hidalgo Arnéra with whom he started doing
poster linocuts and would continue to experiment in this new exciting
technique. Picasso made approximately 150 linocuts, though is a
small part of his output as a printmaker, he produced some of his most
accomplished compositions by this method in a brief burst of activity
from 1958-1963.

The following striking portraits of his last muse Jacqueline Roque are
outstanding examples of Picasso's mastery of the technique of linocut

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PABLO PICASSO(1881-1973)Jacqueline au Bandeau de Face, 1962

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