Pablo Picasso
Pichet à glace, 1952
Ceramic
34.3 cm
13.5 in
13.5 in
Edition of 100
Series: Ceramic
Stamped with 'Edition Picasso' and 'Madoura Plein Feu' pottery stamps on the reverse
Pichet à Glace by Pablo Picasso takes a simple pitcher and turns it into something far more active, using the curved surface as a space for movement rather than decoration....
Pichet à Glace by Pablo Picasso takes a simple pitcher and turns it into something far more active, using the curved surface as a space for movement rather than decoration. Made in 1952 at the Madoura pottery in Vallauris, it sits within the most concentrated period of Picasso’s work in ceramics.
The form itself is solid and functional—a rounded body, narrow neck and pronounced spout—but Picasso doesn’t treat it as neutral. Broad cobalt blue brushstrokes move across the white earthenware, wrapping around the volume rather than sitting on top of it. Lines curve with the shape, dots cluster near the base, and the surface stays open enough for the clay to come through. It reads quickly, but it’s tightly controlled.
Ceramics weren’t a side experiment for Picasso. From 1947 onwards, after arriving in Vallauris, he worked intensively with Suzanne and Georges Ramié at Madoura, producing thousands of pieces over the next two decades. What drew him in was the directness—clay, slip, glaze, fire. No distance between making and result. The process demanded commitment at each stage, and that suited how he was working at the time.
He didn’t follow ceramic tradition; he used it. Plates, jugs, pitchers—standard forms became starting points. Sometimes he painted onto them, sometimes he cut into them, sometimes he reshaped them entirely. In pieces like this, the vessel stays intact, but the surface is pushed hard. The brushwork keeps the speed of drawing, even though it has to survive firing.
There’s also a link back to much earlier influences. Iberian pottery, Mediterranean ceramics, even classical forms—Picasso had been looking at these since the beginning of his career. Vallauris gave him a way to work within that lineage directly, but without restraint. The effect isn’t revival—it’s reuse.
What matters here is how the object sits cleanly. The pitcher still functions, but it’s no longer just a vessel. The blue marks activate the form, turning it as you look at it. You’re aware of the volume, the weight, the surface—all at once.
For more information or to buy Pichet à glace by Pablo Picasso, contact our specialists using the enquiry button above.
Browse Picasso signed prints for sale, or enquire about selling Picasso prints.
The form itself is solid and functional—a rounded body, narrow neck and pronounced spout—but Picasso doesn’t treat it as neutral. Broad cobalt blue brushstrokes move across the white earthenware, wrapping around the volume rather than sitting on top of it. Lines curve with the shape, dots cluster near the base, and the surface stays open enough for the clay to come through. It reads quickly, but it’s tightly controlled.
Ceramics weren’t a side experiment for Picasso. From 1947 onwards, after arriving in Vallauris, he worked intensively with Suzanne and Georges Ramié at Madoura, producing thousands of pieces over the next two decades. What drew him in was the directness—clay, slip, glaze, fire. No distance between making and result. The process demanded commitment at each stage, and that suited how he was working at the time.
He didn’t follow ceramic tradition; he used it. Plates, jugs, pitchers—standard forms became starting points. Sometimes he painted onto them, sometimes he cut into them, sometimes he reshaped them entirely. In pieces like this, the vessel stays intact, but the surface is pushed hard. The brushwork keeps the speed of drawing, even though it has to survive firing.
There’s also a link back to much earlier influences. Iberian pottery, Mediterranean ceramics, even classical forms—Picasso had been looking at these since the beginning of his career. Vallauris gave him a way to work within that lineage directly, but without restraint. The effect isn’t revival—it’s reuse.
What matters here is how the object sits cleanly. The pitcher still functions, but it’s no longer just a vessel. The blue marks activate the form, turning it as you look at it. You’re aware of the volume, the weight, the surface—all at once.
For more information or to buy Pichet à glace by Pablo Picasso, contact our specialists using the enquiry button above.
Browse Picasso signed prints for sale, or enquire about selling Picasso prints.
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