About This Artwork

Pablo Picasso
Spanish, worked in France, 1881–1973

Half-Length Female Nude, autumn 1906

Oil on canvas
31 5/8 x 25 1/4 in. (80.3 x 64.1 cm) canvas; 32 1/8 x 25 3/4 in. (81.6 x 65.4 cm) panel
Signed, u.r.: "Picasso"

Gift of Florene May Schoenborn and Samuel A. Marx, 1959.619

© 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

From 1904 through 1906, Pablo Picasso moved away from the melancholic subjects of his Blue Period to the more optimistic themes of his Rose Period. In the summer of 1906, the artist traveled to the Catalan village of Gósol; upon his return to Paris that autumn, he painted Half-Length Female Nude. In stark contrast to the gaunt visage of The Old Guitarist, the angular, masklike qualities of the figure’s face reveal Picasso’s growing interest in ancient Iberian sculpture and non-Western art. In this way, the work anticipates his breakthrough to Cubism in 1907.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Galerie Bernheim–Jeune, Collection Paul Guillaume, May 25–June 27, 1929. New York, Valentine [Dudensing] Gallery, Picasso: Retrospective Exhibition 1901–1934, (alt. title Picasso 1901–1934), October 26–November 21, 1936, cat. 31, as Buste de Femme, 1907–8.

Detroit Institute of Arts, Walter P. Chrysler Collection, October 1937, p. 5, cat. 18, as Buste de femme–jeune fille.

San Francisco, M. H. de Young Memorial Museum, Seven Centuries of Painting, December 29, 1939–January 28, 1940, p. 54, cat. y-192, as Portrait of a Woman.

Arts Club of Chicago, Origins of Modern Art, April 2–30, 1940, cat. 68, as Portrait of a Woman.

Richmond, Virginia Museum of Fine Arts, Collection of Walter P. Chrysler Jr., January 16–March 4, 1941, pp. 86, cat. 156 (ill.), as Buste de Femme; traveled to Philadelphia Museum of Art, March 29–May 11, 1941.

Paris, Musée des Arts Decoratifs, Picasso: Peintures 1900–1955, June–October 1955, cat. 13 (ill.), as Buste de femme nu.

New York, Museum of Modern Art, The School of Paris: Paintings from the Florence May Schoenborn and Samuel A. Marx Collection, November 1, 1965–January 2, 1966, p. 16 (ill.), as Bust of a Woman; traveled to The Art Institute of Chicago, February 11–March 27, 1966, the City Art Museum of St. Louis, April 27–June 13, 1966, Mexico City, Museo de Arte Moderno, July 2–August 7, 1966, and San Francisco, Museum of Art, September 2–October 2, 1966.

The Art Institute of Chicago, Picasso in Chicago, February 3–March 31, 1968, pp. 18 and 112–113, cat. 10 (ill.), as Bust of Woman.

The Art Institute of Chicago, Frames: Selected European Frames from the Art Institute of Chicago, October 17–December 14, 1986.

Washington, National Gallery of Art, Picasso: The Early Years, 1892–1909, March 30–July 27, 1997, pp. 346–347, and 366, cat. 179 (ill.), as Bust of a Woman; traveled to Boston, Museum of Fine Arts, September 10, 1997–January 4, 1998.

Bergen, Kunstmuseum, Picasso: Figure and Image, 2008, ill. 5.

Publication History

Albert Sarraut, Variations sur la peinture contemporaine (Paris: Des Quatre Chemins, 1930), opp. p. 24 (ill.).

Waldemar George, La grande peinture contemporaine à la collection Paul Guillaume (Paris: Éditions des “Arts à Paris”, 1930) pp. 114 (ill.), 115, 189, as Buste de Jeune Fille.

Christian Zervos, Pablo Picasso I (Paris: Cahiers d’Art, 1932), p. 179, no. 374 (ill.), as Bust of a Woman,Valentine Gallery, Picasso: Retrospective Exhibition 1901–1934, exh. cat. (New York: Valentine Gallery, 1936), cat. 31.

Detroit Institute of Arts, Walter P. Chrysler Collection, exh. cat. (Detroit: Detroit Institute of Arts, 1937), p. 5, cat. 18.

M. H. de Young Memorial Museum, Seven Centuries of Painting, exh. cat. (San Francisco: M. H. de Young Memorial Museum, 1939), p. 54, cat. y-192.

Jean Cassou, Picasso, (Paris: Hyperion, 1940), p. 165, pl. 58.Arts Club of Chicago, Origins of Modern Art, exh. cat. (Chicago: Arts Club of Chicago, 1940), cat. 68.

Virginia Museum of Fine Arts, Collection of Walter P. Chrysler, Jr., exh. cat. (Richmond, Va.: Museum of Fine Arts, 1941), pp. 86, cat. 156 (ill.).

Joan Merli, Picasso (Buenos Aires: Editorial Poseidon, 1948), n.p., fig. 156, as Busto de Mujer.

Musée des Arts Decoratifs, Picasso: Peintures 1900–1955, exh. cat. (Paris: Musée des Arts Decoratifs, 1955), cat. 13 (ill.).

Frank Elgar and Robert Maillard, Picasso, trans. by Francis Scarfe (New York: Frederick A. Praeger, 1956), n.p. (ill.), as Nude.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1961), p. 358, as Figure.

A. James Speyer, “Twentieth–Century European Paintings and Sculpture,” Apollo 84 (September 1966), p. 223 (ill.), as Bust of a Woman.

Lucy Lippard, The School of Paris: Paintings from the Florence May Schoenborn and Samuel A. Marx Collection, exh. cat. (New York: Museum of Modern Art, 1965), p. 16 (ill.).

Pierre Daix and Georges Boudaille, Picasso 1900-1906: catalogue raisonné de l'oeuvre peint (Neuchâtel: Editions Ides et Calendes, 1966), p. 326, no. XVI.24 (ill.), as Buste de Femme Nu.

The Art Institute of Chicago, Picasso in Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 1968), p. 18, cat. 10 (ill.).

Sandra Grung, Supplement to Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1971), p. 87, as Bust of a Woman.

A. James Speyer and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 62, no. 3C12.

Mary Matthews Gedo, “Art as Exorcism: Picasso’s ‘Demoiselles d’Avignon’,” Arts Magazine 55:2 (Oct. 1980) pp. 73 and 75, fig. 9, as Bust of a Woman.

Josep Palau i Fabre, Picasso: Vivent (1881–1907) (Barcelona: Ediciones Poligrafa, 1980), pp. 481 and 553, fig. 1396, as Tors de Dona Nua.

Marilyn McCully, Picasso: The Early Years, 1892–1909, exh. cat. (Washington DC: National Gallery of Art, 1997), pp. 346–347, and 366, cat. 179 (ill.).

Enrique Mallen, The On-Line Picasso Project (http://www.tamu.edu/mocl/picasso/), no. 06:51 (ill.), as Buste de Femme.

Ownership History

Paul Guillaume (1891–1934), Paris, by June 1929 [Sarraut 1930]. Valentine-Dudensing Gallery, New York, by 1936; sold to Walter P. Chrysler, Jr. (1909–1988), New York and Warrenton, Va., by Oct. 1937 [Detroit 1937 and letter from William Mayglothling dated Sept. 24, 1975]; sold, Sotheby Parke–Bernet, New York, Mar, 22, 1945, Chrysler sale, lot 97, to Jacques Helft, Paris and Buenos Aires [letter from Jacques Helft dated Oct. 29, 1975]; on consignment to Allen Loeb, Paris, sometime between 1946–1955 [Helft letter mentioned above]. Florence Schoenborn (1903–1995) and Samuel A. Marx (1885–1964), Chicago and New York, from 1955 [New York 1966]; given to the Art Institute, 1959.




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