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Spiffing Prints Pablo Picasso - Dove of Peace - Large - Archival Matte - Framed

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Stamp of USSR Featuring Pablo Picasso (1981); Post of Soviet Union, Public domain, via Wikimedia Commons Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material. Alicia’s other areas of interest in Art History include the process of writing about Art History and how to analyze paintings. Some of her favorite art movements include Impressionism and German Expressionism. She is yet to complete her Masters in Art History (she would like to do this abroad in Europe) having given it some time to first develop more professional experience with the interest to one day lecture it too. Picasso’s Peace Dove would be something the artist would revisit again and again. The image of the dove in mid-flight has become a symbol synonymous with world peace. Today, Picasso’s La Colombe (Dove) is still associated as the emblem for the World Peace Council. The dove influenced the artist so much he named his daughter Paloma, the Spanish word for dove.

The white dove as a symbol in art is still associated with peace, something that many people do not realize stems from Picasso himself. His choice of a dove, a beautiful yet unassuming bird, to represent something as hopeful and momentous as world peace was a thoughtful one, as the animal brings to mind ideas of freedom and endless possibilities. The dove print was published in one of the print editions by the Galerie Louise Leiris, which was initially founded by the German Daniel-Henry Kahnweiler in 1920. An interesting fact about the Dove of Peace by Pablo Picasso is that it is a Milanese pigeon, and it was gifted to Picasso by Henri Matisse. Picasso also created another pigeon, which appears more simplified in its rendition titled Dove of Peace (1949). Picasso would create many variations of his original dove design, some more naturalistic, others more abstracted. Colombe Volant (Flying Dove), 1952 for example, is much closer to the original illustration based on Matisse’s pigeon, with its detailed and shaded feathering. This attention to naturalism breathes life into the work and creates the illusion of effortless flight. On the other end of the spectrum are works like Colombe au soleil (Dove with Sun), 1962 , which features a simple outline of the form of a dove. Both works display the birds in mid-flight with spread wings, giving a sense of freedom and motion.

Alicia has been working for artincontext.com since 2021 as an author and art history expert. She has specialized in painting analysis and is covering most of our painting analysis. The dove illustrated in the lithograph was actually a Milanese pigeon, which had been a gift to Picasso from his friend and fellow artist, Henri Matisse. [2]

Mourlot, Fernand (1970). Picasso lithographe. Paris. p.123. {{ cite book}}: CS1 maint: location missing publisher ( link) Penrose, Roland (1973). Picasso 1881/1973. London. pp.197–209. {{ cite book}}: CS1 maint: location missing publisher ( link)For Picasso, the dove was both an important political symbol and a personal one. It was a reminder of his father, José Ruiz y Blasco, who was also a painter and had taught Picasso his early skills as an artist. He had drawn doves in Picasso's childhood home in Málaga in the 1880s. Later in life, when Picasso moved to Cannes in the South of France in 1955, he built a dovecote, allowing him to observe and depict the resident doves. [2] In 1957, Picasso painted Studio (Pigeons. Velazquez), depicting an open window surrounded by doves. This was one of several paintings he created in the style of Matisse, as a homage to his friend and his doves. [8] a b c Cole, Ina (May 2010). "Pablo Picasso: The Development of a Peace Symbol". Art Times . Retrieved 18 December 2020. Giorgia Bottinelli, ‘Pablo Picasso’, in Jennifer Mundy (ed.), Cubism and its Legacy: The Gift of Gustav and Elly Kahnweiler, exhibition catalogue, Tate Modern, London 2004, pp.88-90, 94, reproduced p.95

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