Dimensions: image: 422 x 345 mm
Copyright: © Succession Picasso/DACS 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is "Etching 24 March 1968 II" by Picasso, a line etching from the Tate collection. It’s got a strange carnival-esque vibe with all these figures crammed together. What do you see happening here? Curator: A fever dream of creation, perhaps! It's late Picasso, grappling with desire, age, and artistic legacy. Notice how the lines almost vibrate, creating a sense of urgency. The bull-headed figure… is it Minotaur or Picasso himself? Editor: Interesting. So it's like he’s putting himself in the ring with his own mythology? Curator: Exactly! And the women, are they muses, lovers, or reflections of his own complex inner world? It’s a playful, yet poignant self-portrait, etched in time. Editor: I never thought of it that way, seeing it as a reflection of his mental state adds another dimension.
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http://www.tate.org.uk/art/artworks/picasso-etching-24-march-1968-ii-l6-p77579
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24 March 1968 II is the sixth in Picasso's 347 series of prints. They are identified by the date on which Picasso worked on the plate; these inscriptions are legible in reverse on the prints. The series takes its name from the prodigious output of 347 prints completed between 16 March and 5 October 1968. They were made in collaboration with the master printers Aldo and Piero Crommelynck at their studio at Mougins, in the South of France. In 1992 Aldo Crommelynck recalled the visit made in June 1968 by the American curator William Hartmann, who proposed exhibiting the as yet incomplete series of prints at the Art Institute of Chicago on the occasion of the artist's birthday in October. This brought a natural end to the series in order to allow time for printing (see Rachel Stella, 'The Painter and the Printer', in Picasso Graveur: Les 156 gravures, Mougins 1968-1972, exhibition catalogue, Musée d'Art Moderne, Saint-Etienne 1992, p.44). A set was shown at the Galerie Louise Leiris in Paris (December 1968 - February 1969). The series was published by the gallery in an edition of fifty; this sheet is number 23 of 50.
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