Pablo Ruiz Picasso

Absinthine Aperitif Extra Absinthe Bourgeois Leonetto Cappiello Absinthe J. Edouard Pernot Pierrot Absinthe Absinthe Robette L' Absinthe Rend Fou Henri De Toulouse-Lautrec "Le Buveur D' Absinthe" Absinthe Blanqui L'Absinthe Henri de Toulouse-Lautrec The Green Muse Absinthe Parisienne Pablo Ruiz Picasso Vincent Van Gogh Absinthe Vichet Pablo Ruiz Picasso Pablo Ruiz Picasso Bieres de la Meuse Pablo Ruiz Picasso Buveur de l'absinthe Amant de l'absinthe, 1901 Leonetto Cappiello Pablo Picasso Absinthe Suisse Suppression of absinthe in Switzerland by A.H. Gantner, Anisetta Evagelisti L'absinthe, c'est la mort! Absente Art Absente Art Absente Art Unknown Absinthe Extrait Absinthe de Pontarlier Absinthe A. Junod Henri De Toulouse-Lautrec Absinthe drinker Montavon Montbart Distillery The Moulin Rouge Elephant at the Moulin Rouge Photograph #43 The Moulin Rouge, present. Absinthe Picardine Serving Absinthe Unknown Absinthe Terminus A less than virtuous woman Woman drinking absinthe Edouard Manet Absinthe Premier Fils Absinthe Terminus Absinthe Terminus

"Sometime in the spring of 1914 Picasso made a wax piece of sculpture of an absinthe glass, which seems very different from his other constructions of that spring like the relief of "Glass and Die". The wax was not in itself very large - about 8 1/2 inches high. It was unusual in having been modeled, so that the artist's finger marks are detectable, instead of having been constructed, and in having been conceived in the round instead of as a relief. Picasso did several disturbing things with his sculpture at this stage. One was by denying the capacity of the glass to hold liquids by opening up one wall of the upper part of the goblet so that any absinthe would pour like a fountain into the basin he built at the top of its base. The second was to treat the glass like a highly distorted human head, the opening in the wall the equivalent of a human eye with a great projecting eyelid, which is repeated on the opposite closed side of the "face" as well, by modeling a great nose which begins between the two eyes but swings boldly to the open area and projects great upper lips which would interfere with the movement of absinthe to the basin of the lower lips below. The conical base is the neck. Although the top of the head or glass was left open, it was to be provided with a hat, made of a silver absinthe spoon and a bronze cube of sugar. Kahnweiler had six bronzes cast from the wax model, the wax disappearing in the casting; and Picasso painted each quite differently.