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The 1934 Drawing and its Correspondences in Picasso's Oeuvre
Crucifixion Studies of the 1930's
In Picasso's 1930's studies of the Crucifixion, there is a mastabatory symbolism around the figure of the crucified Christ.
This is also strongly implied in the 1934 drawing where the painter's hand can be seen resting upon the phallic, erect handle of his paintbrush in the central area of the composition. There is also an
extraordinary recurrence in the 1934 drawing of a distinctive shape like an
animal or demon's eye that appears in two of Picasso's 1932 crucifixion
studies.
In all three the eye appears as a white ovoid form containing a black, pointed pupil.
© Mark Harris 1996, 1997
- The Burial of Casagemas (Evocation), 1901
- The Embrace, 1901
- La Vie, 1903
- Phallus and Nude, 1903
- The Mackerel, 1903
- Les Desmoiselles d'Avignon, 1907
- Curtain Design for Parade, 1917
- Pantomime Horse Studies for Parade, 1917 - Related Puppetry Imagery
- Costume Studies for Pulchinella, 1920
- The Three Dancers, 1925
- La Statuaire, 1925
- The Studio, 1925
- Crucifixion, 1930
- Crucifixion Studies of the 1930's
- The Vollard Suite
- Classical Prints of the 1920's and 1930's
- The Dream, 1932
- Le Meurtre, 1934 and The Death of Marat, 1934
- Minotaur with Javelin, 1934
- Minotauromachy, 1936
- Picasso's illustrations of Paul Eluard's poem, "La Barre d'Appui", 1936
- Guernica, 1937
- Guernica in depth
- Picasso's Secret Guernica
- Night Fishing in Antibes, 1939
- Curtain Design for Romain Rolland's Play,"Le 14 Juillet", 1936
- Grand air, Les yeux fertiles, 1936
- Erotic Compositions of the 1950's and 1960's
- Peace, 1952
- Picasso's Bestiary
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