Grand pichet à deux anses, deux visages, 1952
Incised white clay
33 x 33,5 cm
Grand pichet à deux anses, deux visages reflects the child-like quality of Picasso’s works in a joyful yet thoughtful manner. It was created while Picasso was discovering and experimenting with...
Grand pichet à deux anses, deux visages reflects the child-like quality of Picasso’s works in a joyful yet thoughtful manner. It was created while Picasso was discovering and experimenting with clay work and ceramics. While the two faces of the sculpture obviously depict a man and a woman, the two handles suggest the sexualities of these two imagined persons. While the two faces seem to be unaware of each other, the sexualities are positioned purposefully next to each other. This positioning precipitates the thought that man and woman complete each other, and that only when this completion is realised can the oneness of the human being be achieved: a oneness that creates a world for two. This world intriguingly bears the weight of Picasso’s unique Cubism-led aesthetics in which objects and subjects are split into pieces and regathered in abstract form. In this very piece the split is clearly noticed in the togetherness disclosed as “a pichet”, suggesting a playful world in which unity is to be grasped as one image. This inspires a dynamic act of looking at the piece. To be able to grasp such a piece one might need to walk around the sculpture or look at it when it is placed on a turning platform or do both at the same time. Maybe only through such a meditative way of looking at it does the intercourse between the two faces and two handles that was once visible reappear. As an artist naturally focusing on the potential possibilities to be expressed in anything Picasso would probably say “why not?” to this revolving way of looking at a piece, which he simply yet ambiguously named Grand pichet à deux anses, deux visages.
© Cigdem Mirol
© Cigdem Mirol