- Home
- About Us
- Paintings
- Artists
- Exhibitions
- Future Exhibitions:
- FINE ARTS PARIS
- Recent Exhibitions:
- TREASURE HOUSE FAIR
- THE PALM BEACH SHOW
- BRAFA ART FAIR
- Contact
Menu
Ink on paper, mounted on card. Signed and inscribed ‘A mi querido amigo Durrio Picasso’. c.1902
Paper size: 9 x 5.5in / 23 x 14cm
Frame size: 14 x 10.5in / 36 x 27cm
When an impoverished young Pablo Picasso arrived in Paris at the dawn of the twentieth century, the Spanish sculptor and ceramist Francisco “Paco” Durrio proved to be a vital ally. Older and more established in the Montmartre avant-garde scene, Durrio generously provided the struggling painter with food, shelter, artistic encouragement, and access to Parisian creative circles. Durrio, a close friend of Paul Gauguin, also introduced Picasso to non-Western sculpture, profoundly influencing the young Spaniard’s evolving artistic vision.
Picasso’s ink sketch ‘Étreinte’ stands as a poignant relic of this foundational friendship. Bearing the warm dedication ‘A mi querido amigo Durrio’, the drawing captures two intertwined, naked lovers. Executed around the onset of Picasso’s famous Blue Period (1901–1904), the sketch served as a crucial compositional study for the artist’s exploration of human vulnerability, later culminating in monumental masterworks such as ‘La Vie’ (1903).
Paco Durrio, Paris (acquired from the artist).
André Lefebvre, France.
Suzanne Rivière and Charles Peignot, France (gift from the latter in 1926).
Then by descent.
This work is sold with a photo-certificate of authenticity from the Comité Picasso
To enquire about this painting, please call us on +44 (0)20 7968 1830 or email us at enquiries@willowgallery.com. Alternatively use the contact form below.
Title: Étreinte Artist Name: Pablo PicassoPablo Picasso stands as one of the most transformative figures in Western art, whose restless innovation dismantled centuries of academic tradition and reshaped the visual landscape of the twentieth century. Born in Málaga, Spain, Picasso displayed prodigious draughtsmanship in his youth before settling in Paris, where he embarked on a relentless trajectory of aesthetic reinvention.
His early artistic evolution unfolded across distinct, intensely evocative phases. The sombre, melancholic palette of his Blue Period (1901–1904), sparked by personal bereavement, gave way to the warmer, lyric circus themes of the Rose Period (1904–1906). Yet it was his radical breakthrough with ‘Les Demoiselles d’Avignon’ (1907) that decisively severed modern painting from classical illusionism. Absorbing the raw vitality of Iberian sculpture and African ceremonial masks, Picasso and Georges Braque co-founded Cubism. By fracturing form into multiple, simultaneous viewpoints, they challenged the viewer to experience subject matter structurally and conceptually, rather than through a single optical perspective.
Picasso’s creative output was virtually limitless, encompassing painting, sculpture, ceramics, printmaking, and theatrical design. His artistic trajectory never stagnated: he revisited classical monumentality in the 1920s, embraced Surrealist-inflected biomorphic distortion, and produced piercing political commentary. Most notably, ‘Guernica’ (1937)—his monumental, stark monochrome indictment of the Spanish Civil War—remains one of history’s most searing artistic testimonies against human brutality.
In his final decades, Picasso worked with an urgent, gestural intensity that anticipated Neo-Expressionism. Rather than confining himself to a signature style, his genius lay in constant metamorphosis and an unshakeable command of form. Picasso remains not merely an icon of modernism, but an insatiable experimenter whose pursuit of new modes of perception irrevocably altered the possibilities of visual art.
