Pipe et partition (Pipe and Sheet Music)
Artist
Pablo Picasso(Spanish, 1881–1973)Spanish, 1881–1973
CultureSpanish
Titles
- Pipe et partition (Pipe and Sheet Music)
Date1914
PlaceFrance
MediumCollage of block-printed paper and gouache, graphite and chalk on paper
DimensionsSheet: 20 1/2 × 26 1/2 in. (52.1 × 67.3 cm)
Credit LineGift of Mr. and Mrs. Maurice McAshan, Jr.
Object number69.11
Current Location
The Audrey Jones Beck Building
111 Brown Foundation Galleries
Exposé
Explore Further
Department
Prints and DrawingsObject Type
new means of representation, he embraced
the cut-and-paste technique of collage in
1912, incorporating found materials in his
compositions to play against drawn and
painted illusions. This synthesis of techniques
later gave rise to the term Synthetic Cubism.
Here, he frames a still life within a trompe
l’oeil (fool-the-eye) frame made from printed
wallpaper, finished off with the artist’s signed
nameplate. The refrain of a popular song,
“Ma Jolie” (My Pretty), is delicately lettered
at the top of the sheet music, a nod to
Picasso’s mistress, Eva Gouel.
Provenance[Galerie Kahnweiler, Paris]; Dr. Jean Dalsace, Paris, before 1942-after 1942; [Stendahl Gallery, Los Angeles], as of 1952; sold to Mr. and Mrs. S.M. McAshan, Jr., Houston, June 17, 1952-November 10, 1969; gift to MFAH, 1969.
Exhibition HistoryArt Contemporain, Antwerp, 1926.
Galeries Georges Petit, Paris, 1932.
Contemporary Arts Association, Houston, 1955.
"Houston Collectors: A Selection," Museum of Fine Arts, Houston, March 22–May 12, 1968.
"One Hundred Master Drawings by Picasso," Fogg Art Museum, Harvard University, Cambridge, Massachusetts, February 20–April 5, 1981; Art Institute of Chicago, April 29–June 14, 1981; Philadelphia Museum of Art, July 11–August 23, 1981.
"In Our Time: Houston’s Contemporary Arts Museum, 1942–1982," Contemporary Arts Museum, Houston, October 23, 1982–January 2, 1983.
"Picasso and Braque: Pioneering Cubism," Museum of Modern Art, New York, September 20, 1989–January 16, 1990; Offentliche Kunstsammlung, Basel, February 25–June 18, 1990.
"Picasso and Things: The Still Lives of Picasso," Cleveland Museum of Art, February 26–April 26, 1992; Philadelphia Museum of Art, June 7–August 30, 1992; Musée Picasso, Paris, September 22–December 28, 1992.
"In Perfect Harmony: Picture and Frame," Van Gogh Museum, Amsterdam, March 31–July 2, 1995; Kunstforum Wien, Vienna, August 24–November 11, 1995.
"The Dark Mirror – Picasso: Photography and Painting," Museum of Fine Arts, Houston, November 16, 1997–February 1, 1998.
"Modernism in a Century of Change III, From Object to Icon: The Art of Assemblage," Museum of Fine Arts, Houston, June 21–August 30, 1998.
"Picasso and the Great War," Barnes Foundation, Philadelphia, February 13–May 9, 2016; Columbus Museum of Art, Ohio, June 10–September 11, 2016.
"Cubism and the Trompe L'Oeil Tradition," The Metropolitan Museum of Art, New York, October 17, 2022–January 22, 2023.
Published References Zervos, Christian. Pablo Picasso: Volume 2. Oeuvres de 1912 à 1917. Paris: Cahiers d’Art, 1942, p. 230, no. 503. Daix, Pierre and Joan Rosselet. Picasso: The Cubist Years 1907-1916. A Catalogue Raisonné of the Paintings and Related Works. Boston: New York Graphic Society, 1979, no. 683. “Acquisitions by Museums of Works by Picasso.” Supplement to The Burlington Magazine (October 1971), p. 625, illus. no. 74. Russoli, Franco and Fiorella Minervino. L'opera completa di Picasso cubista. Milan, Rizzoli, 1972, illus. no. 708. Rosenblum, Robert. “Picasso and the Typography of Cubism.” Pablo Picasso, 1881-1973, eds. Sir Roland Penrose and Dr. John Golding. New York: Portland House, 1973, p. 67, illus. no. 108. Carmean, E.A. “Picasso in the Collection of the Museum of Fine Arts, Houston,” The Museum of Fine Arts Bulletin (Summer 1973), p.4-7, illus. p. 5. Russell, John. The Meanings of Modern Art: Reality Reassembled, Volume 4. New York: The Museum of Modern Art, 1974, p. 47, illus. p. 31, no. IX. The Museum of Fine Arts, Houston: A Guide to the Collection. Introduction by William C. Agee. Houston: The Museum, 1981, p. 131-2, illus. p. 131. Tinterow, Gary. Master Drawings by Picasso. Cambridge, MA: Fogg Art Museum, 1981, p. 126, illus. p. 127. Celant, Germano. “Framed: Innocence or Guilt?” Artforum (Summer 1982), illus. p. 54. Brutvan, Cheryl. In Our Time: Houston’s Contemporary Arts Museum, 1948-1982. Houston: Contemporary Arts Museum, 1982, p. 75. de Lima Greene, Alison. “Twentieth-Century Art in the Museum Collection: Direction and Diversity,” The Museum of Fine Arts Bulletin, vol. XI, no. 3 (Summer 1988): 6, 9, 13, illus. p. 9. Rudenstine, Angelica Zander. Modern Painting, Drawing & Sculpture, Collected by Emily and Joseph Pulitzer, Jr., Volume IV. Cambridge: Harvard University Art Museums, 1988, p. 812. Rubin, William. Picasso and Braque: Pioneering Cubism. New York: The Museum of Modern Art, 1989, illus. p. 310. Poggi, Christine. In Defiance of Painting: Cubism, Futurism, and the Invention of Collage. New Haven: Yale University Press, 1992, p. 129, illus. p. 130. Boggs, Jean Sutherland. Picasso and Things. Cleveland: Cleveland Museum of Art, 1992, p. 160, illus. p. 161. Brunette, Peter and David Wells, eds. Deconstruction and the Visual Arts: Art, Media, Architecture. New York: Cambridge University Press, 1994, p. 133, illus. p. 134. Mendgen, Eva A. In Perfect Harmony: Picture and Frame, 1850-1920. Amsterdam: Van Gogh Museum; Zwolle: Waanders, 1995, p. 230, no. 221. Caws, Mary Ann. The Surrealist Look: An Erotics of Encounter. Cambridge, MA: The MIT Press, 1997, p. 307, illus. p. 309. Krauss, Rosalind E. The Picasso Papers. New York: Farrar, Straus, and Giroux, 1998, p. 179, illus. p. 164, no. 54. Cottington, David. Cubism. New York: Cambridge University Press, 1998, p. 72, illus. no. 59. Lebensztejn, Jean-Claude. Annexes – de l’oeuvre d’art. Bruxelles: Part de l’oeil, 1999, p. 211-212, illus. p. 210. Landay, Janet. The Museum of Fine Arts, Houston: Visitor Guide, 2000, p. 315, illus. p. 315. Florman, Lisa. “Refusing Collage: Juan Gris’s Still Life.” Bulletin of the Detroit Institute of Arts, vol. 75, no. 2 (June 2001), p. 11-12. Florman, Lisa. “The Flattening of Collage.” October, no. 102 (Fall 2002), p. 78 and p. 82, illus. p. 75. Tallman, Susan. "Feinting Spells." The New York Review of Books, Jan. 19, 2023, illus. Inscriptions, Signatures and Marks
Signed in rectangle at bottom center: "Picasso"
Cataloguing data may change with further research.
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