Etching and aquatint on paper
Tate Collection
Works with images
General Collection
Gustav and Elly Kahnweiler
Collection
<a href="https://www.tate.org.uk/art/artists/pablo-picasso-1767" aria-label="More by Pablo Picasso" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pablo Picasso</a>
Faun Revealing a Sleeping Woman Jupiter and Antiope after Rembrandt
Presented by Gustav and Elly Kahnweiler 1974, accessioned 1994
actions: postures and motions
actions: processes and functions
adults
animal / human
animals: fantastic
Antiope
architecture
artist - non-specific
artist, ceramicist
artist, draughtsman
artist, painter
artist, printmaker
artist, sculptor
arts and entertainment
bed
bedroom
classical myths: creatures
classical myths: gods and heroes
crouching
desire
domestic
emotions and human qualities
emotions, concepts and ideas
features
female
fine art and design, named works
furnishings
individuals: female
interiors
light
looking / watching
man
named individuals
nationality
natural phenomena
nudes
objects
people
Picasso, Pablo
portraits
reclining
religion and belief
Rembrandt, engraving, ‘Jupiter and Antiope’
satyr
self-portraits
shadow
sleeping
society
Spanish
tenderness
Walter, Marie-Thérèse
window
woman
work and occupations
Zeus / Jupiter
<p>This was the last in the sequence of one hundred prints known as the Vollard Suite. Incorporating a range of techniques, the series often drew upon mythological themes as well as allusions to Picasso’s relationship to Marie-Thérèse Walter. This print is directly based on Rembrandt’s engraving <i>Jupiter and Antiope</i> (1659), in which Jupiter visits Antiope, the daughter of the King of Thebes, in the guise of a satyr or faun. Made as Picasso’s relationship with Marie-Thérèse was petering out, it shows the faun gently uncovering the sleeping Antiope without disturbing her.</p><p><em>Gallery label, March 2011</em></p>
paper print etching aquatint
24 May 2004 – 8 November 2004
2004-11-08
24 May 2004
2004-05-24
Tate Modern (London, UK)
http://www.tate.org.uk/modern/
11 December 2004
2004-12-11
Tate Liverpool (Liverpool, UK)
http://www.tate.org.uk/liverpool/
2004-05-24
Cubism and its Legacy: The Gift of Gustav and Elly Kahnweiler
Collection based display
11 December 2004 – 2 May 2005
2005-05-02
11 December 2004 – 2 May 2005
2005-05-02
2004-12-11
Tate Liverpool (Liverpool, UK)
http://www.tate.org.uk/liverpool/
2004-12-11
Cubism and its Legacy: The Gift of Gustav and Elly Kahnweiler
Collection based display
25 February 2009 – 7 June 2009
2009-06-07
25 February 2009 – 7 June 2009
2009-06-07
2009-02-25
National Gallery (London, UK)
http://www.nationalgallery.org.uk
2009-02-25
Picasso: Challenging the Past
Loan-out
Faun Revealing a Sleeping Woman (Jupiter and Antiope, after Rembrandt)
image: 316 × 417 mm
Presented by <a href="/search?gid=999999791" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Gustav and Elly Kahnweiler</a> 1974, accessioned 1994
<p>Pablo Picasso’s <i>Faun Revealing a Sleeping Woman</i><b> </b>is the last <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/print" title="Glossary definition for 'Print'"><span>print</span></a> in the series known as the <i>Suite Vollard</i>. This series was the culmination of the collaboration between Picasso and Ambroise Vollard (1865-1939), who had been his first dealer and for whom he had illustrated a number of books. It consists of one hundred prints made in the period 1930-7. Of these, ninety-seven were selected by Picasso and given to Vollard in exchange for a number of his early works; the remaining three were <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/portrait" title="Glossary definition for 'Portrait'"><span>portraits</span></a> of Vollard. Picasso used a range of techniques in this series, such as <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/e/etching" title="Glossary definition for 'Etching'"><span>etching</span></a>, <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/a/aquatint" title="Glossary definition for 'Aquatint'"><span>aquatint</span></a>, <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/d/drypoint" title="Glossary definition for 'Drypoint'"><span>drypoint</span></a>, wash, <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/e/engraving" title="Glossary definition for 'Engraving'"><span>burin</span></a> and scraper. He depicted a variety of themes, among which the <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/s/sculpture" title="Glossary definition for 'Sculpture'"><span>sculptor</span></a> in his studio and scenes from Greek mythology, particularly relating to the Minotaur, predominate.
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<br/>The definitive <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/e/edition" title="Glossary definition for 'Edition'"><span>edition</span></a> of the <i>Suite Vollard </i>was printed in 1939 by the Parisian printmaker Roger Lacourière. It consists of at least two or three artist’s proofs on Montval laid <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/paper" title="Glossary definition for 'Paper'"><span>paper</span></a>, three impressions on <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/v/vellum" title="Glossary definition for 'Vellum'"><span>vellum</span></a> paper, fifty impressions on Montval laid paper measuring 500 x 760 mm and 250 impressions on off-white Montval laid paper bearing the <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/w/watermark" title="Glossary definition for 'Watermark'"><span>watermark</span></a> ‘Vollard’ or ‘Picasso’.
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<br/>Made on 12 June 1936, this is the sixth and final state of <i>Faun Revealing a Sleeping Woman</i>. Although the image remained fundamentally the same through the six states, the simple black lines and negligible shading of the earlier states developed into rich <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/t/tone" title="Glossary definition for 'Tone'"><span>tones</span></a> of grey that depicted a night-time scene with a dramatic play of light and shade. The faun, however, underwent a major transformation, growing more striking and <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/c/classicism" title="Glossary definition for 'Classicism'"><span>classical</span></a>-looking with every state, and finally becoming, as Picasso cataloguer Brigitte Baer has described him, ‘a god-like personification of beauty.’ (Baer 1983, p.98.) An intriguing change is in the minor detail of the plant in a pot in front of the balcony: at first a strawberry plant, it eventually turned into basil which, according to Mediterranean folklore, had the magical power to transform animals into wonderful creatures, especially during a full moon.
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<br/>This print is directly based on Rembrandt’s <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/e/engraving" title="Glossary definition for 'Engraving'"><span>engraving</span></a> <i>Jupiter and Antiope</i>, 1659. In Greek mythology, Antiope was a daughter of Nycteus, King of Thebes. Zeus (known as Jupiter in Roman mythology) was attracted by her beauty and came to her in the guise of a satyr (a half-human creature with the horns, legs and hooves of a goat, known as a faun in Roman mythology), after which she conceived twins, Amphion and Zethus. Forced to abandon her children and flee Thebes, she was later brought back to be enslaved by her evil step-mother Dirce. Upon reaching maturity her sons, who had been secretly brought up by shepherds, exacted a terrible revenge upon Nycteus and particularly Dirce, who was tied to the horns of a wild bull.
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<br/>Many commentators have remarked on the influence that Picasso’s life and circumstances had on his work. <i>Faun Revealing a Sleeping Woman</i> was made as Picasso’s relationship with his lover and muse of ten years Marie-Thérèse Walther was petering out, affection for her having replaced passion. Here the faun – who may be a cipher for Picasso – gently uncovers the sleeping Antiope – who may represent Marie-Thérèse – without disturbing her. This print has been described as ‘a work that looks back nostalgically on their stay in Juan-les-Pins [in April 1936] and on a passion that had changed ... the most successful print in the <i>Suite Vollard</i> and one of the most beautiful in the artist’s engraved work.’ (Baer 1983, p.98.)
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<br/><b>Further reading</b>
<br/>Brigitte Baer, <i>Picasso the Printmaker: Graphics from the Marina Picasso Collection</i>, exhibition catalogue, Museum of Art, Dallas 1983, reproduced p.99
<br/>Brigitte Baer, <i>Picasso Peintre-graveur: Catalogue raisonné de l’oeuvre gravé et des monotypes, 1946-1958</i>, vol.3, Bern 1986, pp.93-98, reproduced p.98
<br/>Giorgia Bottinelli, ‘Pablo Picasso’, in Jennifer Mundy (ed.), <i>Cubism and its Legacy: The Gift of Gustav and Elly Kahnweiler</i>, exhibition catalogue, Tate Modern, London 2004, pp.88-90, 92, reproduced p.93
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<br/>Giorgia Bottinelli
<br/>February 2004</p>

Summary
2005-09-15T00:00:00
summary
SHORT_TEXT
<p>This was the last in the sequence of one hundred prints known as the Vollard Suite. Incorporating a range of techniques, the series often drew upon mythological themes as well as allusions to Picasso’s relationship to Marie-Thérèse Walter. This print is directly based on Rembrandt’s engraving <i>Jupiter and Antiope</i> (1659), in which Jupiter visits Antiope, the daughter of the King of Thebes, in the guise of a satyr or faun. Made as Picasso’s relationship with Marie-Thérèse was petering out, it shows the faun gently uncovering the sleeping Antiope without disturbing her.</p>

Display caption
2011-03-03T00:00:00
display-caption
DISPLAY_CAPTION
actions: postures and motions actions: processes and functions adults animal / human animals: fantastic Antiope architecture artist, ceramicist artist, draughtsman artist - non-specific artist, painter artist, printmaker artist, sculptor arts and entertainment bed bedroom classical myths: creatures classical myths: gods and heroes crouching desire domestic emotions and human qualities emotions, concepts and ideas features female fine art and design, named works furnishings individuals: female interiors light looking / watching man named individuals nationality natural phenomena nudes objects people Picasso, Pablo portraits reclining religion and belief Rembrandt, engraving, ‘Jupiter and Antiope’ satyr self-portraits shadow sleeping society Spanish tenderness Walter, Marie-Thérèse window woman work and occupations Zeus / Jupiter