Christopher Bishop Fine Art

Paul Rosenberg, Paris?;
Schoneman Galleries, Inc., New York;
Private Collection, United States;
Sotheby's, New York, 15 May 1980, lot 322a;
Private Collection, United States;
Christie's, London, 3 February 2010, lot 233;
Galería Guillermo de Osma, Madrid;
Private Collection, Madrid, acquired from the above

Christian Zervos, Pablo Picasso, Oeuvres de 1920 à 1922, vol. IV, Paris, Editions Cahiers d’Art, 1951, cat. no. 176, p. 56, illustrated in black and white;
The Picasso Project (ed), Picasso’s paintings, Watercolors, Drawings & Sculpture, Neoclassicism I, 1920-1921, San Francisco, 1995, no. 20-402, p. 125, illustrated in black and white;
Josep Palau i Fabre, Picasso: From the Ballets to Drama (1917-1926), Barcelona, 1999, cat. no. 837, p. 230, illustrated

Valladolid, Museo de la Pasión, De Picasso a Serra. Veinte años de la Galería Guillermo de Osma, September – October, 2011, p. 29, illustrated in color.;
Monaco, Forum Grimaldi, Picasso Côte d’Azur, July – September, 2013, cat. no. 10, p. 59, illustrated in color;
Madrid, Galería Guillermo de Osma, Once dibujos de Picasso, September – November 2015, cat. no. 1, p. 12-13, illustrated in colo

What is important to underscore is the way in which Picasso understood this drawing as a stand-alone work. While related in some ways to the paintings of this period, the composition was always intended to be exhibited not as a preparatory work, but as a fully completed presentation drawing. Through works like Homme lançant une pierre, Picasso elevates the medium of drawing, claiming, on its behalf, the right to stand alongside paintings as one of the heroes of Modernity. The iconic nature of this work is necessarily bold for a work-on-paper, through which it takes on the biggest of themes and claims a place at the center of the stage of modern art.