Tribute to Nymph, 1956

pablo-picasso-homage-to-nymph-pochoir-1950 copy.jpg
pablo-picasso-homage-to-nymph-pochoir-1950 copy.jpg

Tribute to Nymph, 1956


Pablo Picasso (Spanish, 1881-1973)                    

Medium: Pochoir on Heavy Wove Watermarked Paper

Edition No.: 66/200

Signed in plate, upper left 

Printer/Publisher: Daniel Jacomet & Cie, Paris

Dimensions: 19.5" x 15" (31" x 27.5" with frame)

Pablo Picasso pulled concepts from his earlier creations, a series of drawings and watercolor, in order to form Tribute to the Nymph (1956). Picasso depicts the nymph (a divinity of nature in classical mythology represented as a beautiful maiden dwelling in the forests and trees), and beside her a faun dances merrily while another other plays the flute, a homage to the enchanted nymph. The Faun or Satyr (a half man/half goat) was a regular figure in Picasso’s work, appearing in the guise of the mythical figure and often as a substitute of the artist himself.


Pablo Picasso chose pochoir as a technique over two-hundred times, both at the beginning and the end of his career. A refined stencil-based technique, pochoir is characterized by its crisp lines and brilliant colors, producing images that have a wet appearance. Pochoir begins with the analysis of the composition, including color tones and densities, of a color image. Numerous stencils were designed as a means of creating an image. The stencils were made of aluminum, copper, or zinc and would be cut with a straight-edged knife. The initial layers would be created with watercolor washes and the final marks applied with soft, opaque gouache, a process termed “lean to fat”. Pochoir was most popular from the late nineteenth century through the 1930s, its center of activity in Paris.


In the collection of :

Museum of Modern Art (MoMA), NY

Dallas Museum of Art (DMA)


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