nos.321, 322) two closely-related drawings made on 9 October. In all five works the body stretches across the whole canvas, with the head being located near the right edge, and each nude reclines on her left lower arm in a similar manner. Each of these five works is horizontal and of the same width, and the first canvas of 9 October is of exactly the same dimensions as the Tate's work. Zervos (op.cit., where all are repr., as nos.330, 331, 333, 334, 337) shows that Picasso completed at least one large oil painting of an unaccompanied reclining female nude per day from 7 to 10 October 1968 inclusive, two being completed on the 9th. Gert Schiff (letter to the compiler, 26 March 1986) draws a parallel between the image in the Tate's painting and no.6 in ‘Suite 347’, ‘where the large woman plays in the same autoerotic manner with her nipple’. The reclining nude in no.59 (30 April) has certain points in common with that in the Tate's painting, one of which is that the bracelet on her right wrist almost reads as a necklace. Of these, only one is reclining and none is alone like the nude in the Tate's painting. It would be difficult to find in the history of art a more extraordinary example of perfection and mastery of drawing in old age expressed with such variety and in such abundance.įour of the nudes in ‘Suite 347’ wear necklaces (nos.289, 314, 325 and 338). they were hard put to keep pace with the speed of Picasso's output. Had the expert help of the brothers Piero and Aldo Crommelynck. As Roland Penrose wrote (Picasso, His Life and Work, third edition, 1981, p.451), although Picasso: If the supplement is included, all 347 works are reproduced in the catalogue of the exhibition Picasso 347 Engravings, Institute of Contemporary Art, March–April 1970. The Tate's picture was completed only three days after Picasso had executed the final work in his suite of 347 engravings often known as ‘Suite 347’, on which, alongside works in other media, he worked at Mougins from 16 March to 5 October 1968. Picasso's inscription on the reverse suggests that he completed at least one other work on the same day as this (8 October), but no such work is cited in Zervos or known to Galerie Louise Leiris. Though titled ‘Nu couché’ in Zervos, this work was acquired from Galerie Louise Leiris as ‘Femme nue au collier’ and its first exhibition was under the same title. in col.p.55 as ‘Reclining Nude with Necklace’ on cover as ‘Reclining Nude with Necklace’ The Tate Gallery Illustrated Biennial Report 1982–84, 1984, repr. p.126 as ‘Nu couché’ Richard Morphet, ‘A Late “Reclining Nude” by Picasso: a new acquisition for the Tate’, The Burlington Magazine, CXXVI, February 1984, pp.84–8, repr. Lit: Christian Zervos, Pablo Picasso, Paris, 1973, XXVII, no. in col., as ‘Reclining Nude with Necklace/Nu Couché’) in col., as ‘Nu couché’) Picasso, National Gallery of Victoria, Melbourne, July–September 1984, Art Gallery of New South Wales, Sydney, October–December 1984 (164, repr. in col.) Pablo Picasso: Das Spätwerk - Themen 1964–1972, Kunstmuseum, Basel, September–November 1981 (28, repr. Prov: Acquired from the artist by Galerie Louise LeirisĮxh: Picasso: exposition organisée par le comité central du parti communiste français et l'Humanité, 1973, La Courneuve, Paris, 5–9 September 1973 (III) Picasso, Musée Ingres, Montauban, June–September 1975 (17) Exposition Picasso, Metropolitan Museum of Art, Tokyo, October–December 1977, Prefectural Museum, Aichi, December 1977, Cultural Centre, Fukuoka, January 1978, National Museum of Modern Art, Kyoto, January–March 1978 (80, repr. Purchased from Galerie Louise Leiris, Paris (Grant-in-Aid) 1983
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