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Pablo Picasso, Danseurs, 1956

Pablo Picasso

Danseurs, 1956
White earthenware clay, engraving accentuated withe glaze, black patinated ground
20.3 cm
8.0 in
Edition of 500
Series: Ceramic
Stamped with 'Edition Picasso' and 'Madoura Plein Feu' pottery stamps on the reverse
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Danseurs is a ceramic work executed by Pablo Picasso in 1956 at the Madoura pottery in Vallauris, the southern French town where he maintained an intensive ceramic practice from 1947...
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Danseurs is a ceramic work executed by Pablo Picasso in 1956 at the Madoura pottery in Vallauris, the southern French town where he maintained an intensive ceramic practice from 1947 until the end of his life. The work bears two stamps on its reverse — MADOURA PLEIN FEU and EDITION PICASSO — identifying it as an authorised edition piece produced at the Madoura workshop to Picasso's original design, under the supervision of Georges and Suzanne Ramié. Edition Picasso pieces are distinguished from the rarer Empreinte Originale works, in which decoration was applied directly by Picasso's own hand, but they carry the full authority of his design and the Ramié family's authentication, and were produced within strictly controlled edition sizes.
The cushion-shaped form is characteristic of the Madoura output of this period — a rounded, slightly irregular ground that sits between plate and sculpture, domestic object and autonomous work of art. Against a deep charcoal-black glaze, two figures are rendered in swift white oxide strokes with a looseness and speed that recalls Picasso's line drawings and his engagement with ancient Greek vase painting, in which figures in motion were similarly reduced to essential gesture against a dark ground. The dancers are barely more than marks — a curved spine here, a raised arm there, limbs suggested by a single fluid stroke — yet the sense of movement and mutual energy between the two figures is immediate and unmistakable.
The theme of dancers had preoccupied Picasso across his career, from the angular, dissonant figures of his 1925 painting The Three Dancers to the more lyrical treatments of his later work. In the ceramics of the Vallauris years, the subject takes on a particular lightness, the speed of the oxide brush on the unfired ground suiting the rhythmic, gestural quality of figures in motion. Danseurs captures this quality with exceptional economy — a work in which the brevity of the mark is itself expressive, and the dark ground gives the white figures the quality of light moving against shadow.

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