{"secondaryobjectnumber":null,"periodterms":[],"creditline":"Gift of Margaret Scolari Barr","caption":"Pablo Picasso (1881–1973; born Malaga, Spain; died Mougins, France; active Paris), Printed by Roger Lacourière (French, 1892–1966), La Minotauromachie (Minotauromachy), 1935. Etching, engraving, and scraper; 49.3 x 69.1 cm (plate), 56.3 x 77.4 cm (sheet). 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Etching, engraving, and scraper; 49.3 x 69.1 cm (plate), 56.3 x 77.4 cm (sheet). Gift of Margaret Scolari Barr (x1986-104)","displaydate":"1935","medium":"Etching, engraving, and scraper","media":[{"id":14382,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/x1986-104","isprimary":1,"rank":1,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":"Restricted","caption":"Luna Digitization Project"},{"id":7713,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/x1986-104_SL","isprimary":0,"rank":2,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":"Restricted","caption":"Luna Digitization Project"}],"displayperiod":null,"extended_content":true,"campuscollections":"false","bibliography":[{"boilertext":"Brigitte Baer, Bernhard Geiser, and Alfred Scheidegger, <EM>Picasso, Peintre-graveur</EM> (Berne: Chez l'auteur, 1933-1996). ","citation":"Brigitte Baer, Bernhard Geiser, and Alfred Scheidegger, <EM>Picasso, Peintre-graveur</EM> (Berne: Chez l'auteur, 1933-1996). , no. 573","date":1933,"id":6374,"uri":"https://search.worldcat.org/title/5037387"},{"boilertext":"Georges Bloch, <EM>Pablo Picasso </EM>(Berne: Kornfeld&nbsp;&amp; Cie, 1998).","citation":"Georges Bloch, <EM>Pablo Picasso </EM>(Berne: Kornfeld&nbsp;&amp; Cie, 1998)., no. 288","date":1998,"id":6375,"uri":"https://search.worldcat.org/title/42036698"},{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013)","citation":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013), p. 349","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collection</i> (New Haven, CT: Yale University Press, 2007)","citation":"<i>Princeton University Art Museum: Handbook of the Collection</i> (New Haven, CT: Yale University Press, 2007), p. 297 (illus.)","date":2007,"id":474,"uri":"https://search.worldcat.org/title/191864564"},{"boilertext":"\"Acquisitions of the Art Museum 1986,\" <em>Record of the Art Museum, Princeton University</em> 46, no. 1 (1987): p. 18–52","citation":"\"Acquisitions of the Art Museum 1986,\" <em>Record of the Art Museum, Princeton University</em> 46, no. 1 (1987): p. 18–52, p. 30 (illus.)","date":1987,"id":550,"uri":"https://www.jstor.org/stable/3774580"}],"nowebuse":"False","periods":[],"department":"Prints and Drawings","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199327,"term":"Prints and Drawings","termtype":"Collecting Area"}],"daterange":"A.D. 1900-1945","dateend":1935,"depicted":[],"titles":[{"title":"La Minotauromachie (Minotauromachy)","titletype":"Published","displayorder":1}],"hasimage":"true","creditlinerepro":"© 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York","objectnumber":"x1986-104","inscribed":"Inscribed in ink, lower left corner: [illegible]\r\n\r\nSigned in ink below image, lower right: Picasso","texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"Picasso created some of his most powerful and innovative prints at the height of his Surrealist phase, preceding the outbreak of the Spanish Civil War in 1936. The artist saw the Minotaur—a creature from Greek mythology with the head of a bull and the body of a man, driven by its unbridled animal instinct—as an allegorical alter ego. At the time, Picasso’s young mistress was pregnant, and he was captivated by the promise of new life within her. On the left of this print, a young girl holds aloft a lit candle to stop the advance of the Minotaur. Between them, a female matador is draped over her disemboweled horse, completing the artist’s elaborate autobiographical metaphor, in which Picasso, in the guise of a Minotaur, is confronted by his wife, his mistress, and his future child. In 1936 the artist gave this rare signed proof to his friend Alfred Barr (Princeton Graduate School Class of 1924), the founding director of the Museum of Modern Art, who described this work as \"the greatest single print thus far produced in this century.\" ","remarks":"MM Rotation April 2017"},{"texttype":"Online","textpurpose":"Didactics","textentryhtml":"In the 1930s, at the height of his Surrealist phase, Picasso created some of his most innovative prints, often depicting the artist in his studio, the bullfight, and images of the Minotaur. All three of these themes are entwined in <EM>Minotauromachy</EM>, whose title pays homage to <EM>La Tauromaquia</EM>, Goya’s famed aquatint suite devoted to the bullfight. In classical mythology, the Minotaur was a monster with the body of a man and the head of a bull, representing unbridled animal instinct, but for Picasso the creature symbolized the artist’s savage alter ego, combining man and beast in a Freudian division of conscious and subconscious selves.","remarks":null},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nAt the height of his Surrealist phase preceding the outbreak of the Spanish Civil War in 1936, Pablo Picasso painted little but became obsessed with etching, creating some of his most powerful and innovative prints, which were devoted to images of the artist in his studio, bullfights, or the Minotaur. All of these themes are elaborately entwined in <I>Minotauromachy</I>, whose title is a clever wordplay on <I>La Tauromaquia</I>, Goya’s masterful suite of etchings, published in 1819, depicting the history and horrors of bullfighting. </P>\r\nIn Classical mythology, the Minotaur was a monster with the body of a man and the head of a bull that represented unbridled animal instinct. For Picasso, the creature represented an alter ego, combining both man and beast in a Freudian division of conscious and subconscious selves. In this work of strong contrasts, the figures appear in a shallow, stage-like space, as if in a dream. On the dark, left-hand side, an innocent girl with flowers is watched from above as she bravely holds aloft a lighted candle to stop the raging Minotaur from advancing on the right. The monster stands over a female matador lying astride her disemboweled horse, while shielding his eyes from the candle’s blinding light. When this print was made, the artist’s mistress, the young Marie-Thérèse Walter, was pregnant with his child. In Picasso’s autobiographical allegory, the Minotaur as a beast has brought death to the woman matador, but the purity of the new life within his lover halts the man within the monster whom the bullfighter failed to slay.</P>\r\nIn 1936, the artist gave this rare signed proof to his friend Alfred Barr, founding director of the Museum of Modern Art, on the condition that he keep it for his personal collection. In 1947, Barr wrote that he believed <I>Minotauromachy</I> \"to be the greatest single print thus far produced in this century.\" </P></SPAN>","remarks":null}],"datebegin":1935,"sortnumber":"1986  104x","published_date":"2026-05-16 02:00:18.027961","objectid":16133,"dimensions":"plate: 49.3 x 69.1 cm. (19 7/16 x 27 3/16 in.) \r\nsheet: 56.3 x 77.4 cm. (22 3/16 x 30 1/2 in.)","on_view":false}