Signed, numbered and dated ‘Picasso 24.1.56.XI’ (on the reverse)
Partially glazed ceramic tile
G. Ramié, Céramique de Picasso, Paris, 1974, No.32, ill. p.150
Alain Ramié has confirmed the authenticity of this work
Tete de Faune - Tile (1956, one of the finest, most creative and adorable painting for art museum.) Boldly composed with rich dark tones and opaque shapes, this painting piece evokes a sense of ambiguity and mystery. Utilizing simple shapes and lines to create complex imagery, Picasso's abstract technique takes on a multitude of layers in this work. Rather than creating the facial features with an outlined form, Picasso creates the form from within. Shapes overlap and intersect to create various textures, highlights, and shadows of the face. Using a dark brown and white as the highlight to an otherwise black scene, the viewer is drawn in to the image through the use of contrasting tones. Created in 1965, this original color linocut is printed for art museum and published on Arches paper by Arnéra, Vallauris. Framed to archival art museum grade conservation standards, this painting piece is framed in a complementary moulding with silk mats. This painting work is set behind the amazing Optium Tru Vue Plexiglas, which provides full protection while appearing virtually invisible. The Library of Congress uses Optium Tru Vue Plexiglas to protect The Declaration of Independence.