{"data":{"importJson":{"spreads":[{"uid":1,"left":{"side":"","title":"","sections":[{"sectionId":"s76e033f115254b2eb6a631aa8a8ebe77","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c76e033f115254b2eb6a631aa8a8ebe77","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"1 recto","sections":[{"sectionId":"s562e83aa90d4489b90cc4158883917ed","sectionNum":"0","translation":"<u>Picasso</u>: exhibition \r\nat Thannhauser's\r\n1913 spring\r\n\r\n2-33","transcription":"<u>Picasso</u>: výstava\r\nu Thanhausera\r\n1913 jaro\r\n\r\n2-33","coordinates":{"x":2540,"y":1115,"width":1371,"height":2013},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c562e83aa90d4489b90cc4158883917ed","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":2,"left":{"side":"verso","title":"1 verso","sections":[{"sectionId":"sca14f271bdf343e4bcea6b67984fcda8","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cca14f271bdf343e4bcea6b67984fcda8","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"2 recto","sections":[{"sectionId":"sc030a374f1384acd8af4bf995aa7572e","sectionNum":"2","translation":"1901 \t\t(sign[ed])\r\ncolored pencils on pasteboard.\r\nInconsequential sketch, unclear\tstill","transcription":"1901 \t\t(sign[ováno])\r\nbarevnými tužkami na lepence.\r\nBezvýznamný náčrt, nejistý \tještĕ","coordinates":{"x":2385,"y":400,"width":1800,"height":405},"relatedArt":[{"footNum":"1","copy":"<em>Maternity,</em> 1900‒1901. Crayon and watercolor on paper, dimensions unknown. Private collection. ","image":"footnotes/Lauder_2.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cc030a374f1384acd8af4bf995aa7572e","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s3ff6f4a41f09461b8ce53d08081c1430","sectionNum":"1","translation":"1901 \t\t(sign[ed]) \t\t(oil, canvas) \r\n[Van] Gogh’s colors for impressionist effect\r\nNeither light nor pure color. \tAir. \r\nPigment has material quality. \r\nAbundance of colors appeals to him\r\nSails on boats saturated surfaces red, yellow\r\n\tThis is style of all fauvists before 1905\r\nA bit <u>Denis</u> in rendering of children","transcription":"1901 \t\t(sign[ováno]) \t(olej, plátno)\r\nbarvami [van] Goghovými intence impressionismu  \r\nAni světlo ani čistá barva. \t\tVzduch.\r\nBarva je materielní.\r\nBohatost barevná se mu líbí\r\nPlachty lodiček syté plochy červené, žluté\r\n\tJe to styl všech fauvistů před 1905\r\nTrochu <u>Denis</u> v podání dětí","coordinates":{"x":2385,"y":810,"width":1800,"height":800},"relatedArt":[{"footNum":"2","copy":"<em>The Tuileries,</em> 1901. Oil on board, 20 1/2 x 26 1/4 in. (52 x 66.7 cm). Sold Christie’s London: June 25, 1990 (lot 26).","image":"footnotes/Lauder_1.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c3ff6f4a41f09461b8ce53d08081c1430","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s95d77fd2c0e7465fa3fae9833685dec9","sectionNum":"9","translation":"1901 \t\t(oil, canvas)\r\nhere especially one feels conflict between tendency\r\nto color and impression. \t<u>Renoir</u> rendered\r\nin [Van] <u>Gogh’s</u> colors. \tPicture has luster\r\n\tSkin, clothing shine, and background is harsh\r\nyellow with red flowers. \r\nDoesn’t stick to complementary colors \r\nShadows on skin <u>blue</u>\r\nAs a whole unpleasant in color and form\r\nLike cotton\r\nLacks color, also Renoir’s pollen and light","transcription":" 1901 \t\t(olej, plátno)\r\nzde zvláště cítit rozpor mezi sklonem\r\nk barvě a impressi. \t\t<u>Renoir</u> podaný\r\n[van] <u>Goghovými</u> barvami.  \tObraz má lesk\r\n\tPleť, šat svítí, a pozadí je tvrdě\r\nžluté s červenými kvítky.\r\nKomplementární barvy nedodržuje\r\nStíny pleti <u>modré</u>\r\nCelek nepříjemný barevně i formálně\r\nJako vata\r\nChce barvu, i Renoirův pel a světlo","coordinates":{"x":2385,"y":1600,"width":1800,"height":1125},"relatedArt":[{"footNum":"3","copy":"<em>Girl with a Pendant,</em> 1901. Oil on canvas, 25 1/4 x 21 1/4 in. (64.2 x 54 cm). Sold Christie’s New York: May 15, 2018 (lot 25a). ","image":"footnotes/Lauder_9.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c95d77fd2c0e7465fa3fae9833685dec9","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sfff6c689b91d49748dfc91bc483d7276","sectionNum":"3","translation":"1901 \t\t(pasteboard, oil) \r\nHere for first time Picasso.\r\n[Van] Gogh’s color, but now formal\r\nsynthesis, and symbolism. \r\n\tArms at right angle.\r\n\tGreen face and hand","transcription":"1901 \t\t(lepenka, olej)\r\nZde poprve Picasso.\r\nbarva [van] Goghova, ale už formální\r\nsyntesa, a symbolismus.\r\n\tRuce v pravém úhlu.\r\n\tZelený obličej a ruka","coordinates":{"x":2385,"y":2720,"width":1800,"height":685},"relatedArt":[{"footNum":"4","copy":"<em>Spanish Dancer,</em> 1901. Oil on board, 19 1/2 x 13 1/4 in. (49.5 x 33.6 cm). Private collection.","image":"footnotes/Lauder_3.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cfff6c689b91d49748dfc91bc483d7276","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":3,"left":{"side":"verso","title":"2 verso","sections":[{"sectionId":"s690d828513b34191845c2233f6870ffe","sectionNum":"3","translation":"Skirt red, coat blue\r\nDessous<sup>2</sup> white, floor greenish.\r\nBackground spots <u>yellow</u>, red, blue\r\nand black, green, red (Japanese design)\r\n<u>This now is solidly executed</u>\r\n[illegible]. Material pigment.","transcription":"Sukně červená, kabát modrý\r\nDessous bílé, podlaha do zelena.\r\nPozadí skvrny <u>žluté</u>, červené, modré \r\na černé, zelené, červené (japonský vzor)\r\n<u>To už je pevně děláno</u>\r\n[nečitelný]. Barva materielní.","coordinates":{"x":420,"y":1270,"width":1860,"height":740},"relatedArt":[{"footNum":"1","copy":"<em>Spanish Dancer,</em> 1901. Oil on board, 19 1/2 x 13 1/4 in. (49.5 x 33.6 cm). Private collection.","image":"footnotes/Lauder_3.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>French.</u> Undergarment."}],"colorNotes":{"id":"c690d828513b34191845c2233f6870ffe","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s9c7638eaf18b4ecdae677d5789c26277","sectionNum":"3","translation":"In form now blue period. \r\nBlack contours and shadows.\r\nSymbolism in color and form\r\nstrongly superficial, for effect, literary\r\n<u>Decorative surface</u>\r\nVampire woman – literature \r\nColors in larger areas, crude\r\n[Van] Gogh-like, possible only in lines.\r\n\tBackground colored spots \r\nContorted face, amorphous,\r\nred lips, black hair","transcription":"Formově už tu modrá perioda.\t\r\nČerné kontury a stíny.\r\nBarevný a formový symbolismus\r\nsilně vnější, effektní, literární\r\n<u>Dekorativní plocha</u>\r\nŽena upír – literatura\r\nBarvy ve větších plochách, surové\r\n[van] Goghovy, jež možny jen v liniích.\r\n\tPozadí barevné skvrny\r\nSkřivený obličej, amorfní,\r\nčervené rty, černé vlasy","coordinates":{"x":420,"y":2015,"width":1860,"height":1340},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c9c7638eaf18b4ecdae677d5789c26277","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"3 recto","sections":[{"sectionId":"s12a58f1f443e45faafabf6e679d75f20","sectionNum":"6","translation":"1902 (from beginning) \t\t(canvas, oil)\r\nattempt here at sculptural abbreviation, but\r\nremains on surface as color (3.) \r\nBlue now dominant, but in background still\r\ncolorful wallpaper. \r\nBlue and black checked clothing\r\ntotally flat\r\nArms like rubber. \r\nUnpleasant, material picture.","transcription":"1902 (z počátku) \t\t(plátno, olej)\r\nzde snaha po zkratce plastické, ale\r\nzůstává v ploše co barevné (3.)\r\nModř už hlavní, ale v pozadí ještě\r\nbarevná tapeta.\r\nŠat z modrých a černých kostek\r\núplně plošně\r\nRuce jako z gumy.\r\nNepříjemný, materielní obraz.","coordinates":{"x":2340,"y":320,"width":1830,"height":990},"relatedArt":[{"footNum":"1","copy":"<em>Seated Harlequin</em>, 1901. Oil on canvas, lined and mounted to a sheet of pressed cork, 32 3/4 x 24 1/8 in. (83.2 x 61.3 cm). The Metropolitan Museum of Art, New York, Purchase, Mr. and Mrs. John L. Loeb Gift, 1960, 60.87. Identification: Pierre Daix and Georges Boudaille, Picasso: <em>The Blue and Rose Periods: A Catalogue Raisonné of the Paintings, 1900–1906</em> (Greenwich, Conn.: New York Graphic Society, 1967), no. VI.22","image":"footnotes/Lauder_6.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c12a58f1f443e45faafabf6e679d75f20","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sbece0e2702c74cb0b598ff9c18be5970","sectionNum":"23","translation":"1902 beginning. \t(canvas oil)\r\nsimilar to 20, but attempt at\r\nmore precise sculptural abbreviation. \r\nMore angular. \tLight has now triumphed\r\nover color. \tHere now only blue,\r\nwhite, yellow. \tPale red lips\r\n\tThis is [El] <u>Greco’s</u> light, this is a\r\nmagical <u>luster</u>\r\nBody shrunken, but not yet bony.\r\nRoundly baggy\r\narms<sup>2</sup>  folded Fingers now <u>sticks</u>\r\n(From [El] <u>Greco</u>! only more sculptural here)\r\n\tExpression bitter\r\nface smoothly modeled, clothing\r\nhatched. \r\nWeaker piece. Some uncertainty","transcription":"1902 počátek. \t(plátno olej)\r\nblízký 20, ale snaha po\r\npřesnější plastické zkratce.\r\nHranatější. \tSvětlo už zvítězilo\r\nnad barvou. \tZde už jen modř,\r\nběl, žluť. \tBledě červené rty\r\n\tJe to světlo [el] <u>Grecovo</u>, to je\r\n<u>lesk</u> magický\r\nTělo sražené, ale ještě ne kostnaté.\r\nOble pytlovité\r\nruce založené Prsty už <u>hůlky</u>\r\n(Z [el] <u>Greca</u>! jenže zde více plasticky)\r\n\tVýraz zatrpklý\r\nobličej hladce modelován, šat\r\nštrafírt.\r\nSlabší věc. Nejistota trochu","coordinates":{"x":2340,"y":1340,"width":1870,"height":1960},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"2","note":"It is unclear whether this translates to “arms” or “hands.” The final determination depends on examining the work, which has yet to be conclusively identified."}],"colorNotes":{"id":"cbece0e2702c74cb0b598ff9c18be5970","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":4,"left":{"side":"verso","title":"3 verso","sections":[{"sectionId":"s1b46139d977a449f938293b776dffa59","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c1b46139d977a449f938293b776dffa59","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"4 recto","sections":[{"sectionId":"sc23e70629eae46bfa4f75b1d066586cb","sectionNum":"13","translation":"1904 <del>beg</del>.[inning]     (oil canvas)\r\ntransition to rose period\r\nmore cheerful, pressure waning, more organic\r\nlife. \tInstead of mass now \r\nline and color come to the fore.\r\nAs a whole though still blue\r\nColor more sensitive.\r\n(blue warmer, softer, light friendlier\r\n\t<u>Space<u/>.","transcription":"1904 <del>poč</del>.[átek]     (olej plátno)\r\npřechod k růžové periodě\r\nveselejší, tlak mizí, organičtější\r\nživot. \tMísto masy přichází\r\nk slovu linie a barva.\r\nCelek ještě ale modrý\r\nBarva citlivější.\r\n(modř teplejší, měkčí, světlo laskavější   \r\n\t<u>Prostor</u>.","coordinates":{"x":2335,"y":345,"width":1840,"height":880},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cc23e70629eae46bfa4f75b1d066586cb","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"scffaa0727012482797a889f8f3ddf54a","sectionNum":"83","translation":"dat.[ed] 1903, but seems that date was\r\n<u>added</u> later +.) Corresponds more to\r\n1904, beginning of rose per[iod]\r\n(<u>gouache, pasteboard.</u>) \tAlthough\r\nheavy-handed\r\n\t\t\t+) <u>fake</u>","transcription":"dat.[ováno] 1903, ale zdá se, že datum je\r\npozději <u>připsáno</u> +.)  Odpovídá více  \r\n1904, počátku růžové per[iody]\r\n(<u>gouache, lepenka.</u>) \t\tOvšem\r\ntěžkopádné\r\n\t\t\t+) <u>je falsum</u>","coordinates":{"x":2335,"y":1205,"width":1840,"height":675},"relatedArt":[{"footNum":"1","copy":"Study for <em>The Embrace,</em> 1903. Pastel and black chalk on board, 14 5/8 x 10 1/8 in. (37.2 x 25.5 cm). Sold Christie’s Paris: March 22, 2018 (lot 53). Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 83","image":"footnotes/Lauder_83.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"ccffaa0727012482797a889f8f3ddf54a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sb73afdec72d644f99b68b07bb4cc9758","sectionNum":"15","translation":"1905?\r\nWholly unique. \tMuch to suggest\r\n1901\r\nColored like 1901. \tCharacters also partially\r\nToulouse-Lautrec. \tBut Harlequin now has\r\ncharacter of rose period (no. 27.) His hands\r\nlithe like the Dutch girl Goblet\r\npainted at the least like 1903\r\n\t<u>Contour</u> of line plays role.\r\nAnd background again like <u>Manet</u> under\r\ninfluence of 17th cent.[ury] Spaniards\r\n\tVery heterogeneous piece\r\nOlder piece repainted or completed?","transcription":"1905? \r\nZcela zvláštní. \tMnoho mluví pro \r\n1901\r\nBarevně co 1901. \tČástečně i typy\r\nToulouse-Lautrec. \tNež Harlekýn má\r\ntyp už růžové periody (č. 27.) Jeho ruce\r\njako Holanďanka vláčně Číše  \r\nmalována při nejmenším jako 1903\r\n\t<u>Kontura</u> linie hraje úlohu.\r\nA pozadí zase jako <u>Manet</u> pod\r\nvlivem Španělů 17 stol.[etí]\r\n\tVelmi heterogenní věc\r\nPřemalována neb dokončená starší věc?","coordinates":{"x":2335,"y":1860,"width":1840,"height":1560},"relatedArt":[{"footNum":"2","copy":"<em>At the Lapin Agile,</em> 1905. Oil on canvas, 39 x 39 1/2 in. (99.1 x 100.3 cm). The Metropolitan Museum of Art, New York, The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1992, Bequest of Walter H. Annenberg, 2002, 1992.391. Identification: Gary Tinterow and Susan Alyson Stein, eds., <em>Picasso in The Metropolitan Museum of Art</em> (New York: The Metropolitan Museum of Art, 2010), no. 25","image":"footnotes/Lauder_15.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cb73afdec72d644f99b68b07bb4cc9758","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":5,"left":{"side":"verso","title":"4 verso","sections":[{"sectionId":"sf347723307754574a47ab2a3cd5e17e7","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cf347723307754574a47ab2a3cd5e17e7","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"5 recto","sections":[{"sectionId":"sfa548c99a30145d9aad536d690438ae8","sectionNum":"12","translation":"1904. sig.[ned] \t\t(canvas, oil)\r\nnear end of blue period, start of rose\r\nSkin tone pinkish, background purplish\r\n\tColor sensitive and line as well. Everything\r\n<u>more full of life</u>. \tLight still plays\r\ndominant role. \tShapes soft,\r\norganic. \tHow light compared to\r\n1903! \t\tLovely piece. Nuances of color","transcription":"1904. sig.[nováno] \t\t(plátno, olej)\r\nmodrá perioda u konce, začátek růžové\r\nKarnace do růžova, pozadí do fialova\r\n\tBarva citlivá a též linie. Vše\r\n<u>životnější.</u> \tSvětlo hraje stále\r\nhlavní úlohu. \t\tMěkké tvary\r\norganické. \tJak lehké proti\r\n1903! \t\tPěkná věc. Nuance barevné","coordinates":{"x":2350,"y":310,"width":1850,"height":845},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cfa548c99a30145d9aad536d690438ae8","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sdd9ccad877ac458286edae30c6739a32","sectionNum":"27","translation":"1904 (?) probably 1905 sig.[ned] \t\t(canvas, oil) \r\nnow fully rose period, but a bit\r\nheavy","transcription":"1904 (?) asi 1905 sig.[novano] \t\t(plátno, olej)\r\nto už plnĕ růžová perioda, ale trochu \r\ntěžké","coordinates":{"x":2350,"y":1170,"width":1850,"height":340},"relatedArt":[{"footNum":"1","copy":"<em>Boy Holding a Vase,</em> 1905. Oil on canvas, 25 5/8 x 11 1/8 in. (65.1 x 28.3 cm). The Hyde Collection, Glens Falls, N.Y., The Hyde Collection Trust, 1952. ","image":"footnotes/Lauder_27.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cdd9ccad877ac458286edae30c6739a32","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s883de9bd347640cfb3c0ed9dc299d146","sectionNum":"11","translation":"1904‒05 \t\tsig.[ned]\t\t\t(wood, oil.)\r\nditto. Here Helldunkel<sup>2</sup>  blue. \r\nSplendid color tones. pale. \r\nLovely little piece.","transcription":"1904‒05 \t\tsig.[nováno]\t\t\t(dřevo, olej.)\r\ndtto. Zde Helldunkel modrý.\r\nSkvostné barevné tony. bledé.\r\nPěkná věcička.","coordinates":{"x":2350,"y":1515,"width":1850,"height":465},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>German.</u> “Helldunkel” is not a specific paint color but a descriptive term meaning “chiaroscuro,” or, more colloquially, “light-dark.” Based on the grammar and syntax in the original line of text, the better translation is likely “chiaroscuro.”"}],"colorNotes":{"id":"c883de9bd347640cfb3c0ed9dc299d146","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s487641e0ecdd44cbb364f683bf429e6a","sectionNum":"48","translation":"1905\t\t(pasteboard, gouache) \r\nfull-on rose p.[eriod]\r\nGround reddish.     Clothing also\r\nred (Venetian) and skin tone as well.\r\n\tWhite collar and pale black\r\nSensitively rendered. \t\tSad expression\r\nhand on breast","transcription":"1905 \t\t(lepenka, gouache)   \r\nplná rosa p.[erioda]\t\r\nZáklad do červena. \t\tŠat též\t\t\r\nčervený (benátská) a karnace též.\t\t\r\n\tBílý límeček a čerň bledá\r\nCitlivě načrtnut. \t\tSmutný výraz\r\nruka na prsou","coordinates":{"x":2350,"y":2050,"width":1850,"height":825},"relatedArt":[{"footNum":"3","copy":"<em>Boy with Frilled Collar,</em> 1905. Gouache on cardboard, 30 1/2 x 26 1/4 in. (77.5 x 66.5 cm). Sold Sotheby’s New York: November 11, 1999 (lot 122). ","image":"footnotes/Lauder_48.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c487641e0ecdd44cbb364f683bf429e6a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sfe87a63b73bd473fb280ee9920cdfaef","sectionNum":"24","translation":"1905 \t\t(pasteboard, gouache) \r\nsensitive piece Lovely subdued colors.\r\n(ultramarine blue, strawberry red, sulfur\r\nyellow, white, purple","transcription":"1905 \t\t(lepenka, gouache)\r\ncitlivá věc Pěkné stlumené barvy.\r\n(modř ultramarín, jahodová červeň, sírová\r\nžluť, běl, fialová","coordinates":{"x":2350,"y":2885,"width":1850,"height":550},"relatedArt":[{"footNum":"4","copy":"<em>The Death of Harlequin,</em> 1905‒6. Gouache on cardboard, 27 x 37 3/4 in. (68.5 x 95.7 cm). National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon, 1996. Identification: Pierre Daix and Georges Boudaille, <em>Picasso: The Blue and Rose Periods: A Catalogue Raisonné of the Paintings, 1900–1906</em> (Greenwich, Conn.: New York Graphic Society, 1967), no. XII.27","image":"footnotes/Lauder_24.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cfe87a63b73bd473fb280ee9920cdfaef","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":6,"left":{"side":"verso","title":"5 verso","sections":[{"sectionId":"s28a63726b7b34e8492c6a1125b71f381","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c28a63726b7b34e8492c6a1125b71f381","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"6 recto","sections":[{"sectionId":"s791b72d82e2142db93d2944adcef628d","sectionNum":"16","translation":"1905 (<u>.dat</u>[ed]) \t\t(pasteboard, gouache)\r\nAmong most beautiful rose p.[eriod] pieces, but\r\nnot fully accomplished. Bottom coming out\r\nand too “quellend”<sup>2</sup> \r\nBackground blue-black and gray\r\nSkin tone rose and salmon pink. Gray and\r\nblack shadows. (chiaroscuro) \r\n(A mi querido amigo Paco Durio)<sup>3</sup> \r\nLike a pastel. \tDoughy flesh. \r\nnot sensual, domestic (bonnet!)\r\nMateriality of housewife.\r\n\tDrawing of face simply astonishing.\r\n<u>Draws just with feeling.</u>\r\n\tNo <u>sculpture</u> here. ","transcription":"1905 (<u>dat</u>[ováno]) \t\t(lepenka, gouache)  \r\nZ nejkrásnějších věcí rosa p.[eriody], ale\r\nne úplně zmožena. Spodek leze ven\r\na příliš „quellend“\r\nPozadí černomodré a šedivé\r\nKarnace rosa a lachsrosa. Šedé a  \r\nčerné stíny. (chiaroscuro)\r\n(A mi querido amigo Paco Durio)  \r\nJako pastel. \t\tKynoucí maso.\r\nne smyslné, domácí (holubička!)\r\nMaterielnost ženy domácí.\r\n\tKresba obličeje prostě úžasná.\r\n<u>Jen cit kreslí.</u>\r\n\tZde není <u>plastika</u>.","coordinates":{"x":2375,"y":320,"width":1840,"height":1530},"relatedArt":[{"footNum":"1","copy":"<em>La Belle Hollandaise,</em> 1905. Gouache, oil, and chalk on cardboard laid down on wood, 30 3/8 x 26 in. (77.1 x 65.8 cm). Queensland Art Gallery, South Brisbane, Australia, Purchased 1959 with funds donated by Major Harold de Vahl Rubin. ","image":"footnotes/Lauder_16.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>German.</u> Swollen."},{"footNum":"3","note":"<u>Spanish.</u> To my dear friend Paco Durio."}],"colorNotes":{"id":"c791b72d82e2142db93d2944adcef628d","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s58071ad0d5c84f7aae603192e00b197e","sectionNum":"17","translation":"1905 \t\t(pasteboard, gouache) \r\nBeautiful little piece \tGreek feeling.\r\n(how like Hoffmann!) Light tones. \r\n\t\ttotally flat, contours","transcription":"1905 \t\t(lepenka, gouache)  \r\nKrásná věcička \tŘecký cit. \r\n(co je Hoffmann!) Lehké tony.\r\n\t\túplně plošně, kontury","coordinates":{"x":2375,"y":1850,"width":1840,"height":500},"relatedArt":[{"footNum":"4","copy":"<em>The Watering Place,</em> 1905‒6. Gouache on tan paper board, 14 7/8 x 22 7/8 in. (37.8 x 58.1 cm). The Metropolitan Museum of Art, New York, Bequest of Scofield Thayer, 1982, 1984.433.274. Identification: Gary Tinterow and Susan Alyson Stein, eds., <em>Picasso in The Metropolitan Museum of Art</em> (New York: The Metropolitan Museum of Art, 2010), no. 29","image":"footnotes/Lauder_17.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c58071ad0d5c84f7aae603192e00b197e","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s4e3704023e9e40c1820a586ab0adc0fc","sectionNum":"90","translation":"1905 \t\t(pasteboard, gouache)\r\nless striking.","transcription":"1905 \t\t(lepenka, gouache)\r\nméně význačné.","coordinates":{"x":2375,"y":2290,"width":1840,"height":325},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c4e3704023e9e40c1820a586ab0adc0fc","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sd2fab175bb15484b82c5f0ec7676e6b1","sectionNum":"14","translation":"1905‒06 \t\t(canvas, oil)\r\nred color (Sanguine)","transcription":"1905‒06 \t\t(plátno, olej)\r\nčervenou barvou (Sanguine)","coordinates":{"x":2375,"y":2620,"width":1840,"height":250},"relatedArt":[{"footNum":"5","copy":"<em>Houses in Gósol,</em> 1906. Oil on canvas, 21 1/4 x 15 1/4 in. (54 x 38.5 cm). Statens Museum for Kunst, Copenhagen. ","image":"footnotes/Lauder_14.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cd2fab175bb15484b82c5f0ec7676e6b1","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sa0e1941a5e304dc89244638936a77fae","sectionNum":"38","translation":"1905‒06 \t\tcanvas, oil\r\nditto.\t   more modeling here \r\nThis is drier, sharper. \r\nWhite ground. Like a drawing\r\n\t\t<u>light</u>, form.","transcription":"1905‒06 \t\tplátno, olej\r\ndtto. \tvíce modelace tu\r\nJe to sušší, ostřejší.\r\nBílý základ. Jako kresba \r\n\t\t<u>světlo</u>, forma.","coordinates":{"x":2375,"y":2880,"width":1840,"height":535},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"ca0e1941a5e304dc89244638936a77fae","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":7,"left":{"side":"verso","title":"6 verso","sections":[{"sectionId":"s483b498a2601478f9220232a46a956f5","sectionNum":"16","translation":"Shines marvelously\r\nGround same as 11 (space), but\r\nmore sensitive. \tLustrous\r\n\tBlack added in with brush","transcription":"Svítí báječně\r\nZáklad co u 11 (prostor), ale\r\ncitlivější. \tBrilantní\r\n\tŠtětcem dokresleno černě","coordinates":{"x":460,"y":280,"width":1640,"height":610},"relatedArt":[{"footNum":"1","copy":"<em>La Belle Hollandaise,</em> 1905. Gouache, oil, and chalk on cardboard laid down on wood, 30 3/8 x 26 in. (77.1 x 65.8 cm). Queensland Art Gallery, South Brisbane, Australia, Purchased 1959 with funds donated by Major Harold de Vahl Rubin. ","image":"footnotes/Lauder_16.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c483b498a2601478f9220232a46a956f5","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"saa57e2557833453e8e3d4aa6b50aa47a","sectionNum":"17","translation":"Ultramarine blue faint, skin tone\r\nflat, brown and reddish Horses\r\n\tFlat, and yet space\r\n(Study for etching?)","transcription":"Ultramarín modř slabě, karnace\r\nplošně, hnědí a červenaví Koně\r\n\tPlošně, a přece prostor \r\n(Studie pro lept?)","coordinates":{"x":460,"y":1760,"width":1750,"height":575},"relatedArt":[{"footNum":"2","copy":"<em>The Watering Place,</em> 1905‒6. Gouache on tan paper board, 14 7/8 x 22 7/8 in. (37.8 x 58.1 cm). The Metropolitan Museum of Art, New York, Bequest of Scofield Thayer, 1982, 1984.433.274. Identification: Gary Tinterow and Susan Alyson Stein, eds., <em>Picasso in The Metropolitan Museum of Art</em> (New York: The Metropolitan Museum of Art, 2010), no. 29","image":"footnotes/Lauder_17.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"caa57e2557833453e8e3d4aa6b50aa47a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"7 recto","sections":[{"sectionId":"s712a9ed6129a49d996b93d928f77bb11","sectionNum":"35","translation":"1907 \t\t(pasteboard, gouache) \r\nTree flat, perfect black contours\r\nMalachite blue in middle, surr[ounding] branches\r\nred. Leaf ridges Veronese. Then\r\ndown in corner golden yellow to ruddy\r\n\ton the blue lines of ocher.\r\nCurves play against one another, but \r\nthere are also sculptural inclinations here, [illegible]\r\nthree-dimensional.\r\nLeft lower corner dark red, with black\r\ninfill (like velvet.) \r\n\tStarting point for all those à la <u>Lhote</u> etc.\r\n[sketch]<sup>2</sup> \t\tastonishing decoration\r\n\t\t\tcolorful. Magnificent\r\n\t\t\tlike glass painting. \r\n\t\t\tPrecious gems\r\n\t\t\tLike <u>cloisonné</u>\r\n\t\t\t\tWants to make\r\n\t\t\t<u>picture</u> like Matisse\r\nBlue in middle plays against largest\r\nyellow area. Red against green\r\nThus complementary. \r\nBeautiful piece","transcription":"1907 \t\t(lepenka, gouache)   \r\nStrom plošně, dokonalé černé kontury\r\nMalachyt modrá v prostřed, větve kol[em]  \r\nčerveně. Útesy listí Veronese. Pak\t\r\ndole v rohu zlatá žluť do brunátné\r\n\tna oné modři čáry okrové.\r\nKřivky hrají proti sobě, ale jsou \r\ntu též plastické náběhy, [nečitelný]\r\nprostorové.\r\nLevý roh dole tmavá červeň, také černá\r\nvýplň (jak samet.)\r\n\tPočátek všech à la <u>Lhote</u> etc.  \r\n[sketch]<sup>2</sup> \t\túžasná dekorace \r\n\t\t\tbarevná. Skvělé \r\n\t\t\tjak sklomalba.\r\n\t\t\tDrahokamy\r\n\t\t\tJako <u>cloisonné</u>  \r\n\t\t\t\tChce dělat \r\n\t\t\t<u>obraz</u> co Matisse\r\nModř hraje v středu proti největší\r\nploše žluté. Červeň proti zelené\r\nTedy komplementární.\r\nKrásná věc","coordinates":{"x":2350,"y":340,"width":1855,"height":2815},"relatedArt":[{"footNum":"1","copy":"<em>Landscape,</em> 1907. Gouache on paper mounted on cardboard, 25 1/2 x 19 5/8 in. (64.8 x 49.9 cm). Virginia Museum of Fine Arts, Richmond. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 59","image":"footnotes/Lauder_35.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c712a9ed6129a49d996b93d928f77bb11","coordinates":{"x":2405,"y":1620,"width":855,"height":1035},"transcriptionNotes":{"image":"footnotes/folio-7-transcription.svg","alt":""},"translationNotes":{"image":"footnotes/folio-7-translation.svg","alt":""}}}]}},{"uid":8,"left":{"side":"verso","title":"7 verso","sections":[{"sectionId":"s5f97b0a78feb4edbbcdd10078f153938","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c5f97b0a78feb4edbbcdd10078f153938","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"8 recto","sections":[{"sectionId":"s5f0fff1652814fb3a051754ef7509405","sectionNum":"37","translation":"1907 \t\t(wood, oil)\r\nbody yellow-green and rose. Contours\r\nblue. Shadows likewise. Lights on belly\r\nwhite lines\r\n\tExtending from body, where individual limbs\r\nunto themselves, system of lines like spider web\r\nin which it rests. The first “Hängematte.”<sup>2</sup>  \r\nmost of field white Shadows green.\r\nWhite karirt.<sup>3</sup>  \tField above yellow\r\nupper part of body bluish, white and\r\nblack straffirt.<sup>4</sup>  At right red\r\nsegment with white lines. Down underneath\r\nit shining yellow-green\r\n\tComplementary colors\r\nHere too one feels him moving toward sculpture","transcription":"1907 \t      (dřevo, olej)\r\ntělo žlutozelené a růžové. Kontury\r\nmodré. Rovněž stíny. Světla na břichu\r\nbílé čáry\r\n\tOd těla, kde jednotlivé údy \r\npro sebe, systém čar jako pavučina\r\nv níž leží. Prvý „Hängematte“.\r\nvětšina polí bílá Stíny zelené.\r\nBíle karirt. \t\tPole nad žlutou  \r\nhoření částí těla modravá, bíle a \r\nčerně straffirt. V pravo červený  \r\nsegment s bílými čarami. Dole pod\r\nním zelenožlutý svítící \r\n\tKomplementární barvy\r\nI zde cítit, jak směřuje k plastice","coordinates":{"x":2350,"y":330,"width":1850,"height":1625},"relatedArt":[{"footNum":"1","copy":"<em>Nude Woman on a Bed,</em> 1907. Oil on wood panel, 14 3/8 x 15 in. (36.5 x 38 cm). Private collection. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 77","image":"footnotes/Lauder_37.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>German.</u> Hammock."},{"footNum":"3","note":"<u>German.</u> Checkered."},{"footNum":"4","note":"<u>German.</u> Striped or lined."}],"colorNotes":{"id":"c5f0fff1652814fb3a051754ef7509405","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sd83de90f74a14a21b6fdd10e6a069435","sectionNum":"30","translation":"1907 \t\t(canvas, oil) \r\nTable by window or balcony?\r\nEnglish red, shadows alongside vase chocolate\r\nLight at right bluish gray-white. Lines\r\nvery vivid. Canvas partially\r\n\t\tvisible as always\r\n\t\tVase now <u>Cézanne-like. expression</u>\r\n\t\t(<u>Matisse</u> etc) brown-red\r\n\t\tlines yellow and black\r\n\t\tBlack chimney at left\r\ntotally flat","transcription":"1907\t\t (plátno, olej)  \r\nStůl u okna či balkon?\r\nEnglisch rot, stíny u vázy čokoláda\r\nSvětlo v pravo modravé šedobíle. Čáry\r\nvelmi živé. Plátno částečně\r\n\t\tvidět jako vždy\r\n\t\tVása už <u>Cézannovsky. výraz</u>\t\r\n\t\t(<u>Matisse</u> etc) hnědočervené \t\r\n\t\tčáry žluté a černé\r\n\t\tV levo černý komín \r\núplně plošně","coordinates":{"x":2350,"y":1935,"width":1850,"height":1300},"relatedArt":[{"footNum":"5","copy":"<em>Vase of Flowers,</em> 1908. Oil on canvas, 36 1/4 x 28 3/4 in. (92.1 x 73 cm). The Museum of Modern Art, New York, Gift of Mr. and Mrs. Ralph F. Colin. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 70","image":"footnotes/Lauder_30.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cd83de90f74a14a21b6fdd10e6a069435","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":9,"left":{"side":"verso","title":"8 verso","sections":[{"sectionId":"s668e3b807e6d4acf81b54d0e78069a14","sectionNum":"37","translation":"Body twisted so that space is \r\nsuggested. Sculpture.","transcription":"Tělo ztočeno, aby prostor byl \r\nsugerován. Plastika.","coordinates":{"x":405,"y":330,"width":1775,"height":300},"relatedArt":[{"footNum":"1","copy":"<em>Nude Woman on a Bed,</em> 1907. Oil on wood panel, 14 3/8 x 15 in. (36.5 x 38 cm). Private collection. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 77","image":"footnotes/Lauder_37.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c668e3b807e6d4acf81b54d0e78069a14","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sa20ed89bcc6043fcbf914c7fc06756ba","sectionNum":"30","translation":"<u>Bouquet</u> sculptural from various\r\ncolors: light and dark purple, emerald\r\nand Veronese green, rose. \r\nRed contours. Crosswise lines black\r\nor gray. \r\nis dark yellow area street?\r\nSidewalk on right, black, blue, yellow\r\nand green lines. There are lamps\r\nand [illegible]\r\n\tGreat deal of light. \r\nColors partially straight from tube.\r\n\t<u>Herbin</u> learned here. From this\r\n[illegible] dead thing[s?].","transcription":"<u>Kytice</u>\t plasticky z barev   \r\nrůzných: světle a temně fialová, zeleň\r\nsmaragdová a Veronese, růžová.\r\nČervené kontury. Čáry příčné černé\r\nnebo šedivé.\r\ntmavá žlutá plocha je ulice?\r\nChodník v pravo, černě, modře, žlutě\r\na zeleně čarován. Stojí tu lampy\r\na [nečitelný]   \r\n\tMnoho světla.\r\nBarvy částečně přímo z tuby.\r\n\tZde se učil <u>Herbin</u>. Z toho\r\n[nečitelný] mrtvé věci.","coordinates":{"x":340,"y":1925,"width":1900,"height":1455},"relatedArt":[{"footNum":"2","copy":"<em>Vase of Flowers,</em> 1908. Oil on canvas, 36 1/4 x 28 3/4 in. (92.1 x 73 cm). The Museum of Modern Art, New York, Gift of Mr. and Mrs. Ralph F. Colin. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 70","image":"footnotes/Lauder_30.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"ca20ed89bcc6043fcbf914c7fc06756ba","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"9 recto","sections":[{"sectionId":"s1ffa132bd7334a0dbb0bfd73fabbef9f","sectionNum":"44","translation":"1907 end \t\t(canvas, oil)\r\nbuilt up from ocher, bur[nt] sienna and Berlin [blue]\r\npainted heavily and not as drily as\r\nusual for 1907. \r\nForehead still divided and striped with sienna\r\n\tNow strongly sculptural.","transcription":"1907 konec \t\t(plátno, olej)\r\nvystaven z okru, Sieny pál[ené] a Berlín [modř]\r\nmalován silně a ne tak suše co \r\nobyčejně 1907.\r\nČelo ještě rozděleno a čarováno Sienou\r\n\tPlasticky už silně.","coordinates":{"x":2350,"y":335,"width":1860,"height":620},"relatedArt":[{"footNum":"1","copy":"<em>Woman’s Head,</em> 1908. Oil on canvas, 29 x 23 7/8 in. (73.6 x 60.6 cm). The Museum of Modern Art, New York, Florene May Schoenborn Bequest. ","image":"footnotes/Lauder_44.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c1ffa132bd7334a0dbb0bfd73fabbef9f","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sfe3569f483f640b998415059d7ecfc52","sectionNum":"42","translation":"beg.[inning] 1908 \t(paper, <del>watercolor</del>, gouache) \r\nHere too from color to <del>sculpture</del>\r\nlight and especially sculpture.\r\nBroken up into geometric shapes determined\r\nby structure of body (almost stylized)\r\n\tLight and shadows divided <u>purely pictorially</u>\r\nnot in a naturalistic way. Triangles and \r\nsegments of sphere according to compositional needs\r\nred, gray, yellowish, brown. \r\nBackground gray, red and yellow, brown, salmon pink\r\nhatched. Great deal of light. \r\n\tastonishingly brilliant, transparent\r\nwatercolor. \r\nNeck like cylinder.\r\nEverything in y[ear]1907 is flat compared to this.","transcription":"poč.[átek] 1908 \t(papír, <del>aquarel</del>, gouache)\r\nZde už také od barvy k <del>plastice</del>\r\nsvětlu a hlavně plastice.\r\nRozkládáné v pravidelné tvary dané\r\nstrukturou těla (skoro stilisace)\r\n\tSvětlo a stíny rozděleny <u>čistě obrazově</u>\r\nne naturalisticky. Trojúhelníky a\r\nsegmenty koule dle potřeby komposiční\r\nrudé, šedé, žlutavé, hnědé.\r\nPozadí šedé, rudé a žluté, hnědě, lachsrosa \r\nčarované. Mnoho světla.  \r\n\túžasně skvělý, transparentní \r\naquarel.\r\nKrk co válec.\r\nVše v r[oce] 1907 je ploché proti tomu.","coordinates":{"x":2350,"y":965,"width":1845,"height":1630},"relatedArt":[{"footNum":"2","copy":"<em>Female Torso,</em> 1908. Gouache on paper, 24 5/8 x 18 3/4 in. (62.6 x 47.6 cm). San Francisco Museum of Modern Art, Millennium Gift of Sara Lee Corporation. ","image":"footnotes/Lauder_42.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cfe3569f483f640b998415059d7ecfc52","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s3caea968a173421db49f1f46c32414ae","sectionNum":"39","translation":"beg[inning] 1908 \t\t(paper, watercolor)\r\nLandscape pendant for 42, but not as much {light. (Here color)}\r\nBerlin [blue], {light and dark} bur[nt] sienna, ocher. \r\nEdges of crystals. \r\nExtremely lustrous, deep\r\ncoloration","transcription":"poč[átek] 1908 \t\t(papír, aquarel)\r\nKrajinný pendant k 42, ale ne tolik {světla. (Zde barva)}\r\nBerlín [modř], {světlá a tmavá} siena pál[ená], okr. \r\nStrany krystalů.\r\nNesmírně brilantní, hluboký \r\nkolorit","coordinates":{"x":2345,"y":2590,"width":1835,"height":705},"relatedArt":[{"footNum":"3","copy":"<em>Landscape,</em> 1908. Gouache and charcoal on paper, 18 5/8 x 24 1/4 in. (47.3 x 61.6 cm). The Metropolitan Museum of Art, New York, Leonard A. Lauder Cubist Collection, Purchase, Leonard A. Lauder Gift, 2014, 2014.464. Identification: Susan Grace Galassi and Marilyn McCully, <em>Picasso’s Drawings, 1890–1921: Reinventing Tradition,</em> exh. cat. (New York: Frick Collection, 2011), no. 37","image":"footnotes/Lauder_39.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c3caea968a173421db49f1f46c32414ae","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":10,"left":{"side":"verso","title":"9 verso","sections":[{"sectionId":"sabeceecd931f43b18c3383b8a6604ce3","sectionNum":"42","translation":"Handling of light not naturalistic. \r\n<u>color scheme</u> same as 1907","transcription":"Vedení světla není naturalistické.\r\n<u>barevně</u> řešeno co 1907","coordinates":{"x":465,"y":865,"width":1775,"height":335},"relatedArt":[{"footNum":"1","copy":"<em>Female Torso,</em> 1908. Gouache on paper, 24 5/8 x 18 3/4 in. (62.6 x 47.6 cm). San Francisco Museum of Modern Art, Millennium Gift of Sara Lee Corporation. ","image":"footnotes/Lauder_42.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cabeceecd931f43b18c3383b8a6604ce3","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s99cd3d7a628246bbbfd7f740849655f7","sectionNum":"39","translation":"pure color scheme\r\nLight not unidirectional.\r\nmodel for <u>Cubists</u>,\r\nBeautiful piece","transcription":"čistě barevně řešeno\r\nSvětlo není jednosměrné.\r\nvzor <u>Kubistů</u>,\r\nKrásná věc","coordinates":{"x":420,"y":2680,"width":1380,"height":690},"relatedArt":[{"footNum":"2","copy":"<em>Landscape,</em> 1908. Gouache and charcoal on paper, 18 5/8 x 24 1/4 in. (47.3 x 61.6 cm). The Metropolitan Museum of Art, New York, Leonard A. Lauder Cubist Collection, Purchase, Leonard A. Lauder Gift, 2014, 2014.464. Identification: Susan Grace Galassi and Marilyn McCully, <em>Picasso’s Drawings, 1890–1921: Reinventing Tradition,</em> exh. cat. (New York: Frick Collection, 2011), no. 37","image":"footnotes/Lauder_39.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c99cd3d7a628246bbbfd7f740849655f7","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"10 recto","sections":[{"sectionId":"s38cbf53e0d8045fb9311b69793db8077","sectionNum":"40","translation":"1908 beg[inning] \t(paper gouache)\r\nbrilliant colors: brilliant green, bur[nt] sienna\r\nwith blush, gray. \t\tAreas left blank \r\n\tSensitive color. \t\tMasses, ridges\r\nbut not yet those sharp geometric shapes\r\nof no. 39. ","transcription":"1908 poč[átek]\t  (papír gouache)\r\nskvělé barvy: brilant zelená, pál[ená] Siena  \r\ns rumělkou, šeď. \t\tVynechaná místa\r\n\tBarva citlivá. \t\tMasy, útesy\r\nale ne ještě ty pravidelné ostré tvary\r\nco č. 39.","coordinates":{"x":2330,"y":355,"width":1860,"height":680},"relatedArt":[{"footNum":"1","copy":"<em>Landscape,</em> 1908. Gouache on paper laid down on canvas, 24 1/2 x 18 7/8 in. (62 x 48 cm). Sold Christie’s New York: November 5, 2003 (lot 117). ","image":"footnotes/Lauder_40.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c38cbf53e0d8045fb9311b69793db8077","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s5ac971e2f84e4caea4ee77a55155c867","sectionNum":"46","translation":"1908 [(illegible)] \t(gouache)\r\nBrilliant piece. \r\nground bright cold green with white\r\ngray and yellowish lines.\r\nHead firm synthesis sculptural rounded\r\n(Archipenko! Lehmbruck) Rounded shapes\r\nInfluence of fetishes now. \r\nSienna light and dark. Shadows dark\r\nsienna. Reflections bright blue areas\r\nat left under chin and eye. At right\r\nnext to nose and below. Here {(alongside nose)} deep\r\nblue. \t       Strong bright blue-and-white\r\nlines. Transition to 47 etc.","transcription":"1908 [(nečitelný)] \t(gouache)\r\nSkvělá věc.\r\nzáklad světle studeně zelený s bílými\r\nšedými i žlutavými čarami.\r\nHlava pevná syntesa plastická oblá\r\n(Archipenko! Lembruck) Oblé tvary  \r\nUž vliv fetišů.\r\nSiena světlá i tmavá. Stíny tmavá\r\nsiena. Reflexy světle modré plochy\r\nv levo pod bradou a okem. V pravo\t\r\nvedle nosu a dole. Zde {(u nosu)} hluboký\r\nmodrý. \tSilné světle modrobílé \r\nčáry. Přechod k 47 etc.","coordinates":{"x":2330,"y":1120,"width":1860,"height":1470},"relatedArt":[{"footNum":"2","copy":"<em>Head of a Woman,</em> 1908. Gouache on wood panel, 10 5/8 x 8 1/4 in. (27 x 21 cm). Sold Sotheby’s New York: May 13, 1986 (lot 55). Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 46","image":"footnotes/Lauder_46.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c5ac971e2f84e4caea4ee77a55155c867","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sd1c207ff00ec42c28c034d6737e2fddf","sectionNum":"51","translation":"1908, summer \t(wood, oil)\r\nFrom the period of several peaceful\r\nsyntheses, monumental little piece.\r\n\tColors greenish in service of sculpture.\r\nGray sky, earth and tree trunks sienna\r\n\t\t\tblack shadows\r\nDark dirty green","transcription":"1908, léto \t(dřevo, olej)\r\nZ oné doby několika klidných\r\nsyntés, monumentální věcička.\r\n\tBarvy zelenavé v službě plastiky.\r\nŠedé nebe, půda a kmeny Siena \r\n\t\t\tčerné stíny\r\nZeleň tmavá špinavá","coordinates":{"x":2330,"y":2570,"width":1860,"height":780},"relatedArt":[{"footNum":"3","copy":"<em>Landscape,</em> 1908. Oil on canvas, 39 3/4 x 32 in. (100.8 x 81.3 cm). The Museum of Modern Art, New York, Gift of Mr. and Mrs. David Rockefeller. ","image":"footnotes/Lauder_51.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cd1c207ff00ec42c28c034d6737e2fddf","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":11,"left":{"side":"verso","title":"10 verso","sections":[{"sectionId":"sd346b994a1624b0490ede981d5601d80","sectionNum":"46","translation":"Color composition like 1907.\r\nhalf of hair red half blue.\r\nrelationship to lower areas.\r\n\tStill a step toward reality from\r\n1907\r\nHe wants sculpture\t\t, but using colors to\r\nshape the picture. Also not naturalistic.","transcription":"Barevně komponován co 1907.   \r\npůl vlasů červená půl modrá.  \r\nvztahy k dolním partiím.\r\n\tPřes to krok k realitě od\r\n1907\r\nChce plastiku\t, ale barvami, jež \r\ntvoří obraz. Taky ne naturalisticky.","coordinates":{"x":450,"y":1050,"width":1760,"height":900},"relatedArt":[{"footNum":"1","copy":"<em>Head of a Woman,</em> 1908. Gouache on wood panel, 10 5/8 x 8 1/4 in. (27 x 21 cm). Sold Sotheby’s New York: May 13, 1986 (lot 55). Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 46","image":"footnotes/Lauder_46.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cd346b994a1624b0490ede981d5601d80","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"11 recto","sections":[{"sectionId":"sef05a8b0247647b9a23b009714bcdb30","sectionNum":"47","translation":"1908 summer \t\t(canvas, oil) \r\npendant for my woman. \t\tWeaker. \r\nnot as crystalline and material\r\n\tHere now gray, which plays role\r\nin 1909. \tLeft eye, bottom of nose,\r\nright ear, lips gray. \t     Not justified\r\nby nature, but by pictorial relations.\r\n\thandling of <u>light</u>, which begins\r\nto be crucial, not unidirectional. (dark neck!) \r\nColors are reduced to sienna, \r\nocher, gray, black","transcription":"1908 léto \t\t(plátno, olej)\r\npendant k mé ženě. \t\tSlabší.\r\nne tak krystallinické a materiel[ní]\r\n\tZde už šeď, která hraje úlohu\r\n1909. \t\tLevé oko, spodek nosu,\r\npravé ucho, rty šedé. \tNení odůvodněna\r\npřírodou, ale obrazovými vztahy.\r\n\tvedení <u>světla</u>, které začíná\r\nrozhodovat, není jednosměrné. (temný krk!)\r\nBarvy jsou redukované na Sienu,\r\nokr, šeď, čerň","coordinates":{"x":2320,"y":315,"width":1925,"height":1200},"relatedArt":[{"footNum":"1","copy":"<em>Bust of a Woman,</em> 1908. Oil on canvas, 31 7/8 x 25 5/8 in. (81 x 65 cm). Private collection. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 136","image":"footnotes/Lauder_47.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cef05a8b0247647b9a23b009714bcdb30","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s30257fb3dda14615b3e07da35865f064","sectionNum":"43","translation":"1908\r\ninconsequential \t\tQuite colorful.","transcription":"1908\r\nbez významu \t\tDost barevné.","coordinates":{"x":2320,"y":1540,"width":1670,"height":345},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c30257fb3dda14615b3e07da35865f064","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s91ed0f1978b045dfac51af660861b84c","sectionNum":"32","translation":"1908 winter 35x45 (canvas, oil) \r\ngorgeous piece \t<u>First true Picasso.</u>\r\nBeginning of crystalline forms and\r\nchiaroscuro. \r\nGray table. \tWall brown-yellow\r\nwith black ridges horizontally and vertically \r\nshaded. \tIn front beautiful\r\ntwo-handled cup (Cézanne) Emerald. \r\nBehind it gray-blackish canister \r\nAt right red flask, or bottle\r\n(shining like red wine) then\r\nwhite flask. Slicing red axis here","transcription":"1908 zima 35x45 (plátno, olej)  \r\npřekrásná věc \t<u>První pravý Picasso</u>.\r\nPočátek krystallinických forem a\r\nchiaroscuro.\r\nŠedivý stůl. \tStěna žlutohnědá\r\ns černými útesy vodorovnými a kolmými   \r\nstínovaná. \tV předu krásný\r\nšálek dvojušný (Cézanne) Smaragd.   \r\nZa ním šedivá dosa do černa\r\nV pravo rudá křivule, či lahev\r\n(svítí co červené víno) pak\r\nbílá křivule. Řeže tu červenou osu","coordinates":{"x":2320,"y":1850,"width":1850,"height":1490},"relatedArt":[{"footNum":"2","copy":"<em>Still Life (Still Life with Bouquet of Flowers),</em> 1908. Oil on canvas, 15 1/8 x 18 3/8 in. (38.2 x 46.5 cm). Sold Sotheby’s New York: November 4, 2014 (lot 27). Identification: Jana Claverie, <em>Vincenc Kramář: Un théoricien et collectionneur du cubisme à Prague</em> (Paris: Reunions des Musées Nationaux, 2002), p. 227","image":"footnotes/Lauder_32.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c91ed0f1978b045dfac51af660861b84c","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":12,"left":{"side":"verso","title":"12 verso","sections":[{"sectionId":"sbbb7077cf56b4cc79d0e7c3b46e6a984","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cbbb7077cf56b4cc79d0e7c3b46e6a984","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"12 recto","sections":[{"sectionId":"sd2212487fcbd4ca398b327a0787b8f36","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cd2212487fcbd4ca398b327a0787b8f36","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":13,"left":{"side":"verso","title":"11 verso","sections":[{"sectionId":"s2749fc5e4bbb4382a2bf0322dcfb6740","sectionNum":"32","translation":"<u>Here has surpassed his own development</u>.\r\n\r\n\r\n\r\n---------------\r\nAt front left pear with blackish\r\nshadows. Behind it red-brown vase\r\nLeaves brillant.<sup>2</sup>  2 red flowers (<u>wine</u>)\r\n2 yellow 1 rose to salmon (asters?)\r\nIn left corner dark brown-red vase\r\n\tShapes crystalline, leaves now\r\nalmost chiseled (<u>Herbin</u>)\r\n{Entire program} <u>Exact opposite of Cézanne</u>. Chiaroscuro\r\nBeautiful form, but also vivid colors\r\nmostly of course just giving color, but\r\nin places burning like [El] <u>Greco</u>. \r\nAs a whole subdued, but underlying radiance,","transcription":"<u>Zde předběhl svůj vývoj</u>.  \r\n\r\n\r\n\r\n---------------\r\nV levo v předu hruška s černavými\r\nstíny. Za tím vása červenohnědá\r\nListí brillant. 2 rudé květy (<u>víno</u>)  \r\n2 žluté 1 růžový do lachs[rosy] (astry?)\r\nV levo v rohu temně hnědorudá vása\r\n\tTvary krystalinické, listy už\r\nskoro tesané (<u>Herbin</u>)\r\n{Celý program} <u>Pravý opak Cézanna.</u> Chiaroscuro   \r\nKrásná forma, ale též barvy živé\r\nvětšinou ovšem jen kolorující, ale \r\nněkde hořící jako [el] <u>Greco</u>.\r\nCelek stlumený, ale spodní žár,","coordinates":{"x":380,"y":1465,"width":1835,"height":1950},"relatedArt":[{"footNum":"1","copy":"<em>Still Life (Still Life with Bouquet of Flowers),</em> 1908. Oil on canvas, 15 1/8 x 18 3/8 in. (38.2 x 46.5 cm). Sold Sotheby’s New York: November 4, 2014 (lot 27). Identification: Jana Claverie, <em>Vincenc Kramář: Un théoricien et collectionneur du cubisme à Prague</em> (Paris: Reunions des Musées Nationaux, 2002), p. 227","image":"footnotes/Lauder_32.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>French.</u> Bright, brilliant, or luminous."}],"colorNotes":{"id":"c2749fc5e4bbb4382a2bf0322dcfb6740","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"13 recto","sections":[{"sectionId":"s13a5257fa1ae40babc34e1d3ddb91460","sectionNum":"64","translation":"In a way more material than 56, but \r\nlikely a flaw in execution. Probably didn’t want\r\nmore “realities”\r\nGreat variety of planes, of spatial\r\nrelationships, hence greater corporeality\r\n\tIntentional contrast of naturalism\r\nwith his viewpoint (rope etc.)\r\n\tThough planes also given colors\r\nthat are more realistic\r\nLack of space around figure except\r\nin some places. Remains flat\r\n\t<u>Planes cast shadows on one another</u>, elsewhere then again \r\nno, there are just light and \r\ndark planes. Some are\r\ntranslucent, others no. \tOthers\r\nunevenly shaded. \r\n\tPicture has no unified\r\nideal surface. \r\n\tShapes lack crystalline\r\nbeauty of 56. \r\nBaroque, <u>Michelangelesque mood</u>\r\n\tMandolin neck only seemingly\r\nnaturalistic. Whole array of planes\r\nintersecting with plane in back.","transcription":"Je jaksi materielnější než 56, ale\r\nto asi vada provedení. Nechtěl snad\r\nvíce „realit“\r\nVeliké bohatství plánů, prostorových\r\nvztahů, odtud větší tělesnost\r\n\tÚmyslný kontrast naturalismu\r\nk jeho názoru (provaz etc.)\r\n\tOvšem také plány dostávají barvy\r\njakoby reálnější\r\nSchází prostor kolem figury mimo\r\nněkterá místa. Zůstává plošný\r\n\t<u>Plány si stínějí</u>, jinde zase \r\nne, existují prostě světlé a\r\ntmavé plány. Některé jsou\r\nprůsvitné, jiné ne. \t\tJiné\r\nnestejnoměrně odstíněné.\r\n\tObraz nemá jednotnou\r\nideální plochu.\r\n\tTvary nejsou tak krystalinicky\r\nkrásné co 56.\r\nBarokní, <u>michelangelovská nálada</u>\r\n\tKrk mandoliny jen zdánlivě\r\nnaturalisticky. Celá řada plánů\r\nkřížících s plánem do zadu.","coordinates":{"x":2365,"y":300,"width":1842,"height":2760},"relatedArt":[{"footNum":"1","copy":"<em>The Mandolin Player,</em> 1911. Oil on canvas, 39 5/8 x 27 3/8 in. (100.5 x 69.5 cm). Fondation Beyeler, Basel, Sammlung Beyeler. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 425","image":"footnotes/Lauder_64.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c13a5257fa1ae40babc34e1d3ddb91460","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":14,"left":{"side":"verso","title":"13 verso","sections":[{"sectionId":"s91705cba5b6246b481f193151bbed162","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c91705cba5b6246b481f193151bbed162","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"14 recto","sections":[{"sectionId":"s68be140a2d3d4bf98696d604c2bc6ca5","sectionNum":"65","translation":"1911 spring (22x30) canvas, oil\r\nFrom era of my mandolin. \t      So much <u>light</u>!\r\npiece for effect (tout éclat du pont neuf)<sup>2</sup> \r\n\twhite, ocher, brown, gray, r[ed]\r\nTrees bright green and yellow (sulfur)\r\n\tAgain partially spotted.\r\nDensely packed piece.","transcription":"1911 jaro (22x30) plátno, olej   \r\nZ doby mé mandolíny. \tCo <u>světla!</u>\t\r\neffektní věc (tout êclat du pont neuf)\r\n\tběl, okr, hněď, šeď, červ[eň]  \r\nStromy jasná zeleň a žluť (síra)\t\r\n\tČástečně opět skvrny.\r\nZhuštěná věc.","coordinates":{"x":2370,"y":300,"width":1800,"height":800},"relatedArt":[{"footNum":"1","copy":"<em>The Pont Neuf,</em> 1911. Oil on canvas, 13 x 9 1/2 in. (33 x 24 cm). Private collection. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 401","image":"footnotes/Lauder_65.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>French.</u> The Pont Neuf all in splinters."}],"colorNotes":{"id":"c68be140a2d3d4bf98696d604c2bc6ca5","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sce45c9d4afd542cca90f4458117428fa","sectionNum":"58","translation":"1911 <del>22 x 30</del> canvas, oil\r\nSubtle, mild light. Beautiful forms. \r\n\tBeautiful piece. \r\nGray, ocher with sienna, brown, black, white\r\n\tSpots merge. \t\tSubtly painted \r\nLight trembles. \tDelicate.","transcription":"1911 <del>22x30</del> plátno, olej\r\nJemné, mírné světlo. Krásné formy.\r\n\tKrásná věc.\r\nŠeď, okr s Sienou, hněď, čerň, běl\r\n\tSkvrny splývají.\t Jemně malováno\r\nSvětlo se chvěje. \tDelikatní.","coordinates":{"x":2370,"y":1120,"width":1815,"height":735},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cce45c9d4afd542cca90f4458117428fa","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s10c44730862d4d698381e34dcc04c2e1","sectionNum":"62","translation":"1911 \t\tcanvas, oil\r\nendearing. Same era as 58.\r\nRusty ocher, gray, black, brown.\r\n\tSfumato beautiful. Fresh,\r\nBeautiful tones, more saturated than 58\r\nSlice in front is marvelous. \r\n\tSeemingly greater reality is\r\nin fact planes\r\nSliced salami has reddish\r\ncolor, <del>yellow in back</del> Skin gray\r\nSteel gray. Glass gray, crust\r\nbrown, bread [c]rumb white","transcription":"1911 \t\tplátno, olej\r\nroztomilé. Z doby co 58.\r\nOkr do rezava, šeď, čerň, hněď.\r\n\tSfumato krásné. Svěží,\r\nKrásné tony, sytější než 58\r\nBáječný je krajíc v předu.\r\n\tZdánlivá větší realita jsou\r\nfakticky plány\r\nSalám naříznutý má červenavou\r\nbarvu, <del>vzadu žluté</del> Kůže šedivá\r\nOcel šedivá. Sklo šedivé, kurka\r\nhnědá, [s]třída chleba bílá","coordinates":{"x":2360,"y":1930,"width":1815,"height":1385},"relatedArt":[{"footNum":"3","copy":"<em>The Sausage,</em> 1912. Oil on canvas, 9 1/2 x 13 3/4 in. (24 x 35 cm). Private collection. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 474","image":"footnotes/Lauder_62.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c10c44730862d4d698381e34dcc04c2e1","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":15,"left":{"side":"verso","title":"14 verso","sections":[{"sectionId":"s249ec3f9ed9f44a9acdb2cb8c7c1483b","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c249ec3f9ed9f44a9acdb2cb8c7c1483b","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"15 recto","sections":[{"sectionId":"sb699432155164a31a3509e7c4c9086bd","sectionNum":"63","translation":"1911 \t\tcanvas, oil\r\nfresh little piece. Endearing\r\nwhite, black, gray, ocher, green,\r\nlines and spots. \tTrees like\r\n\t\t<u>Rousseau</u> almost naively","transcription":"1911 \t\tplátno, olej\r\nsvěží věcička. Roztomilá\r\nběl, čerň, šeď, okr, zeleň,\r\nčáry a skvrny. \tStromy jako \r\n\t\tnaivně <u>Rousseau</u> skoro","coordinates":{"x":2350,"y":330,"width":1770,"height":490},"relatedArt":[{"footNum":"1","copy":"<em>L’avenue Frochot, View of Picasso’s Studio,</em> 1911. Oil on canvas, 9 1/2 x 7 1/2 in. (24 x 19 cm). Sold Christie’s London: November 28, 1995 (lot 24). Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 443","image":"footnotes/Lauder_63.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cb699432155164a31a3509e7c4c9086bd","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s0f5f29cb5cbe4d9e88a124b50e2fd58c","sectionNum":"57","translation":"1911\r\nsame colors, \t\tgreat deal of empty canvas\r\nVery fresh and full of light.\r\nMarvelous green dark and yellowish next to\r\nblack and yellow","transcription":"1911\r\ntytéž barvy, \t\tmnoho volného plátna\r\nVelmi svěží a plno světla.\r\nBáječná zeleně temná a žlutavá vedle\r\nčerné a žluté","coordinates":{"x":2350,"y":820,"width":1850,"height":545},"relatedArt":[{"footNum":"2","copy":"<em>Seated Mandolin Player,</em> 1911. Oil on canvas, 15 x 9 1/2 in. (38 x 24 cm). Sold Sotheby’s New York: November 5, 2003 (lot 39).","image":"footnotes/Lauder_57.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c0f5f29cb5cbe4d9e88a124b50e2fd58c","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sf4335ac801ba46b39cb101398cfff3ce","sectionNum":"67","translation":"1912 (?) \t\t\tcanvas, oil\r\nfull of light\r\ndrawn in black.\r\nGreen, yellow, sienna, black, gray.\r\nGreat deal of white canvas","transcription":"1912 (?) \t\t\tplátno, olej\r\nplno světla\r\nčerně kresleno.\r\nZeleň, žluť, Siena, čerň, šeď.\r\nMnoho bílého plátna","coordinates":{"x":2325,"y":1430,"width":1810,"height":600},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cf4335ac801ba46b39cb101398cfff3ce","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s00eeb05c738840c59e46a632450f6c7a","sectionNum":"75","translation":"1912 \r\nGreat deal of color here. \r\nTable has strik.[ing] wood brown-yellow\r\nrusty color. \tStill life: white, gray,\r\nocher, black\r\nVessel shiny white, impastoed\r\nplanes gray and yellowish or brownish\r\n\tIn places adds <u>purple rose</u>\r\nand combines with ocher for unique mix\r\nBright shine on upper part of vessel ","transcription":"1912   \r\nZde mnoho barvy.\r\nStůl má nápad.[né] dřevo hnědožluté\r\ndo rezava. \tZátiší: běl, šeď,\r\nokr, čerň\r\nNádoba svítivě bílá, pastosně\r\nplány šedé a do žluta neb hněda\r\n\tMísty připojuje se <u>fialová rose</u>\r\na s okrem pojí zvláštní směs\r\nČistě svítí na nádobě nahoře","coordinates":{"x":2315,"y":2120,"width":1880,"height":1170},"relatedArt":[{"footNum":"3","copy":"<em>The Fruit Dish,</em> 1912. Oil on canvas, 21 3/4 x 15 in. (55.2 x 38.1 cm). The Metropolitan Museum of Art, New York, Promised Gift from the Leonard A. Lauder Cubist Collection. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 475","image":"footnotes/Lauder_75.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c00eeb05c738840c59e46a632450f6c7a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":16,"left":{"side":"verso","title":"15 verso","sections":[{"sectionId":"sdc75b2ff3252459b8e1afcb94bb3a2d3","sectionNum":"75","translation":"Purple dominates on plane behind\r\nvessel at right. {Paint in places impastoed.} Then also to left of\r\n<del>it</del> behind V and R and down behind RE\r\n<u>Green</u> (bright Veronese to left of V\r\nat right along edge In places moderate\r\ngreen and purple, or blend. \r\n\tChiaroscuro, light strong, lines,\r\ncolor. Wood pattern\r\n\tGray steel of knife marvelous\r\n<u>Color planes</u>\r\nHotel blue on yellowish saturated canvas","transcription":"Fialová vládne na plánu za  \r\nnádobou v pravo. {Barva místy pastosně.} Pak je v levo od\t\r\n<del>ní</del> za V a R a dole za RE\r\n<u>Zeleň</u> (jasná Veronese v levo od V\r\nv pravo podel rohu Místy střídmá\r\nzeleň a fialová, nebo mísení.\r\n\tChiaroscuro, světlo silné, linie,\r\nbarva. Vzor dřeva\r\n\tŠedivá ocel nože báječná\r\n<u>Barevné plány</u>\r\nHotel modř na žlutavě prosyceném plátně","coordinates":{"x":380,"y":2150,"width":1900,"height":1260},"relatedArt":[{"footNum":"1","copy":"<em>The Fruit Dish,</em> 1912. Oil on canvas, 21 3/4 x 15 in. (55.2 x 38.1 cm). The Metropolitan Museum of Art, New York, Promised Gift from the Leonard A. Lauder Cubist Collection. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 475","image":"footnotes/Lauder_75.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cdc75b2ff3252459b8e1afcb94bb3a2d3","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"16 recto","sections":[{"sectionId":"s961a4de9d52f41d89aaf8481432ea9ce","sectionNum":"69","translation":"1911‒12 spring\r\ndrawing April 1910.\r\ncoloration dark: brown, black, yellow\r\ngray, white\r\nProbably painted earlier, and completed\r\n1912. broadly in places, and warm colors\r\nbrown red\r\nIn some places delicate spots spread about, others\r\nimpas.[toed] (multiple layers atop one another)\r\n\tIn places those restless spots\r\nOf 1910 (edges bright)\r\n<u>Contours</u> black. \r\nin places canvas empty. \r\nColoration worthy of <u>Rembrandt</u> as in\r\n73 (this one fresher, lighter, warmer,\r\n69 gloomy, but sensitive. First\r\nimpression quite dry, and haphazard \r\n(completed probably same time as <u>66</u>","transcription":"1911‒12 jaro\r\nkresba duben 1910.\r\nkolorit temný: hněď, čerň, žluť\r\nšeď, běl\t\r\nAsi dříve již malován, a dokončen\r\n1912. široce místy, a teplé barvy\r\nhnědočervené\r\nMísty jemné skvrny rozetřeny, jinde\r\npastos.[ní] (více vrstev na sobě)\r\n\tMísty ony neklidné skvrny\r\nZ 1910 (kraje světlé)\r\n<u>Kontury</u> černé.\r\nmísty plátno volné.\r\nKolorit hodný <u>Rembrandta</u> jako\r\n73 (toto svěžejší, světlejší, teplejší,\r\n69 ponuré, ale citlivý. Prvý\r\ndojem suchý dost, a nedůsledný\r\n(dokončen asi co <u>66</u>","coordinates":{"x":2335,"y":280,"width":1860,"height":2125},"relatedArt":[{"footNum":"1","copy":"<em>Woman with a Guitar (“Ma Jolie”),</em> 1911‒12. Oil on canvas, 39 3/8 x 25 3/8 in. (100 x 64.5 cm). The Museum of Modern Art, New York, Acquired through the Lillie P. Bliss Bequest (by exchange). Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 430","image":"footnotes/Lauder_69.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c961a4de9d52f41d89aaf8481432ea9ce","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s058280a0b5f14c5f98dbbbe0ec2e0d9a","sectionNum":"66","translation":"\t\r\n(small oval)\r\npainted broadly. \tNice, compact\r\n\tGray, black, ocher, brown, white\r\nHere spots of 1911. run into one another. \r\nsaftig<sup>3</sup> ","transcription":"\t\r\n(ovál malý)\r\nMalován široce. \tPěkné, ucelené\r\n\tŠeď, čerň, okr, hněď, běl\r\nZde skvrny 1911. do sebe.\r\nsaftig","coordinates":{"x":2335,"y":2395,"width":1860,"height":870},"relatedArt":[{"footNum":"2","copy":"<em>Guitar,</em> 1912. Oil on canvas, 25 1/4 x 35 1/2 (64 x 90 cm). Private collection. ","image":"footnotes/Lauder_66.jpg","link":""}],"translatorNotes":[{"footNum":"3","note":"<u>German.</u> Lush or juicy."}],"colorNotes":{"id":"c058280a0b5f14c5f98dbbbe0ec2e0d9a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":17,"left":{"side":"verso","title":"16 verso","sections":[{"sectionId":"sbc4f1427cdb7433a8ff828f4a1e0780b","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cbc4f1427cdb7433a8ff828f4a1e0780b","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"17 recto","sections":[{"sectionId":"s918c152993574e20bad9ea8c005af051","sectionNum":"0","translation":"\r\n\r\n<u>Málaga</u> \tcolored pencils 1901\r\n\ttotally Toulouse-Lautrec\r\n\tsfumato. \tVery good\r\n<u>Esquisse pour</u> Hôtel de l’Ouest (1901)<sup>1</sup>  \r\n\t\tchambre 22\r\n\tcaricature. \r\n\tmarvelously fresh still life, apples in {dish}\r\n\tplume floating.\r\n\tTremendous sense of color \r\n<u>Apple</u> \t\t1910\r\n\tgreen \t\tWhite lights, yellowish","transcription":"<u>Malaja</u> \tbarevné tužky 1901\r\n\túplně Toulouse-Lautrec\r\n\tsfumato. Dobré velmi\r\n<u>Esquisse pour</u> Hôtel de l´Ouest (1901) <sup>1</sup>\r\n\tchambre 22\r\n\tkarikatura.\r\n\tbáječné zátiší svěží, jablka na {nádobě}\r\n\tpero létá.\r\n\tNesmírný barevný smysl\r\n<u>Jablko</u> \t1910\r\n\tzelené\t \tBílá světlá, žlutavá","coordinates":{"x":2375,"y":330,"width":1845,"height":1515},"relatedArt":[{"footNum":"1","copy":"<em>Sketch for ‘Hôtel de l’Ouest,’ Room 22,</em> 1904. Watercolor and crayon on paper, 21 1/2 x 17 1/4 in. (54.5 x 43.8 cm). Private collection. ","image":"footnotes/Lauder_80.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c918c152993574e20bad9ea8c005af051","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":18,"left":{"side":"verso","title":"17 verso","sections":[{"sectionId":"s76e8fe607e2841b382d7642b735624a4","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c76e8fe607e2841b382d7642b735624a4","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"18 recto","sections":[{"sectionId":"s25e13a81b84247b391054019904502fb","sectionNum":"0","translation":"<u>Etching</u> Acrobats   \r\n\tStove, ladder, woman child up\r\n\t2 below small as cats, younger woman\r\n\tother sitting sewing? Old woman washing dishes\r\n\tHorse {(nag)} in background. Acrobat training\r\n\tyounger one on ball. Woman {pregnant} carrying\r\n\twood. Child holding by skirt (also carrying wood!)\r\n\t2 rows of hills, 2 bare trees\r\n---------------\r\n<u>Drawings:</u> <del>J</del>\r\n\t<u>Jane Avril</u> 1901<sup>1</sup> \r\n\t\tToulouse-Lautrec. \tBlack crayon and\r\n\tcolored pencils \tfirmly \r\n<u>Lady</u> 1901\r\n\talmost <u>Legrand</u>\r\n<u>2 coquettes</u> pastels 1901\r\n\tfresh Animally\r\n\tbeautiful red, white shirt, blue, black\r\n\t(<u>van Dongen</u>!) \r\n<u>2 women</u> 1906 (dat.[ed])\r\n\tcharcoal, beautiful\r\n<u>Jan</u>[e] <u>Thylda</u> 1901\r\n\tLegrand","transcription":"<u>Lept</u> Komedianti   \r\n\tKamna, žebřík, žena dítě vzhůru\r\n\t2 dole malé jako kočky, mladší žena\r\n\tjiná sedí šije? Stařena myje nádobí\r\n\tKůň {(mrazka)} v pozadí. Komediant cvičí\r\n\tmladšího na kouli. Žena {těhotná} nese\r\n\tdřevo. O sukni se drží dítě (také nese dříví!)\r\n\t2 vrchy za sebou, 2 holé stromy\r\n---------------\r\n<u>Kresby:</u> <del>J</del>\r\n\t<u>Jane Avril</u> 1901<sup>1</sup> \r\n\t\tToulouse-Lautrec.\t Křída černá a\r\n\tbarevné tužky \tpevně\r\n<u>Dáma</u> 1901\r\n\tskoro <u>Legrand</u>\r\n<u>2 kokety</u> pastely 1901\r\n\tsvěží Animalně\r\n\tkrásná červeň, běl košile, modř, čerň   \r\n\t(<u>van Dongen</u>!)\r\n<u>2 ženy</u> 1906 (dat.[ováno])\r\n\tuhel, krásné\r\n<u>Jan</u>[e] <u>Thylda</u> 1901   \r\n\tLegrand","coordinates":{"x":2350,"y":320,"width":1860,"height":3040},"relatedArt":[{"footNum":"1","copy":"<em>Woman with a Blue Hat (Jane Avril),</em> ca. 1901. Pastel and charcoal on paper, 12 x 9 1/2 in. (30.5 x 23 cm). Sold Sotheby’s New York: May 17, 1990 (lot 141). ","image":"footnotes/Lauder_79.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c25e13a81b84247b391054019904502fb","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":19,"left":{"side":"verso","title":"18 verso","sections":[{"sectionId":"s2b13975e855142e3a8570230598f7db8","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c2b13975e855142e3a8570230598f7db8","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"19 recto","sections":[{"sectionId":"s4cf8c069ecb74a8dafebca5aa087dc67","sectionNum":"76","translation":"<u>Paul Fort</u>\r\nocher, white, black. \t\tFaint brick color\r\n(plane of left part of face)\r\n\tHard somewhat like man with button\r\nSimilarly the bone yellow.\r\n---------------\r\n\t<u>Etchings</u>\r\n<u>Head</u> immense\r\n\tbright, <del>excellent</del> good\r\n<u>Woman brushing hair</u> \tdark\r\n<u>Salome</u> \tbright, great deal left out\r\n<u>Arlequin au tambour</u><sup>2</sup>  (washing) \r\n\tbright\r\n<u>Hérodiade’s dream</u> 2x\r\n\tsomewhat dark. Nice\r\n<u>2 apaches</u><sup>3</sup>  [(illegible)] \r\n\tdark, [illegible] colorful\r\n<u>With monkey</u>\r\n\tpoorly done, weakly \tBright\r\n<u>On horse</u> 2 dancers\r\n<u>Acrobat’s head</u> excellent (ded[icated]\r\n\ta mi querido amigo Paco Durio<sup>4</sup> ","transcription":"<u>Paul Fort</u>  \r\nokr, běl, čerň. \tSlabá cihlová\r\n(plán levé části obličeje)\r\n\tTvrdý asi jako muž s knoflíkem\r\nPodobně kostěné žluti.\r\n---------------\r\n\t<u>Lepty</u>\r\n<u>Hlava</u> veliká\r\n\tsvětlá, <del>výborná</del> dobrá\r\n<u>Žena se češe</u> \t\ttemný\r\n<u>Salome</u> \tsvětlá, mnoho vynecháno\r\n<u>Arlequin au tambour</u> (myje)\r\n\tsvětlý\r\n<u>Sen Herodiady</u> 2x\r\n\ttrochu temný. Dobrý\r\n<u>2 apači</u> [(nečitelný)]\r\n\ttemný, [nečitelný] barevný \r\n<u>S opicí</u>   \r\n\tšpatně, slabĕ \t\tSvětlý\r\n<u>Na koni</u> 2 tanečnice\r\n<u>Hlava komedianta</u> výborná (věn[ováno]\r\n\ta mi querido amigo Paco Durio","coordinates":{"x":2380,"y":320,"width":1845,"height":3100},"relatedArt":[{"footNum":"1","copy":"<em>The Poet,</em> 1912. Oil on canvas, 23 5/8 x 18 7/8 in. (59.9 x 47.9 cm). Kunstmuseum Basel, Gift of Maja Sacher-Stehlin to the city of Basel, Deposit of the municipality of the city of Basel, 1967. Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 76","image":"footnotes/Lauder_76.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>French.</u> Harlequin with drum."},{"footNum":"3","note":"<u>French.</u> Slang term for members of early 1900s Parisian street gangs."},{"footNum":"4","note":"<u>Spanish.</u> To my dear friend Paco Durio."}],"colorNotes":{"id":"c4cf8c069ecb74a8dafebca5aa087dc67","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":20,"left":{"side":"verso","title":"19 verso","sections":[{"sectionId":"sc9aae489fd97494cab69f1dbe4f1ba80","sectionNum":"0","translation":"\t\r\n\t\r\n<u>Indigent family</u> \t(1904) (<u>good impression</u>)\r\nOld man bony, folded arms,\r\nlooking to side. \tWoman sitting\r\n2 children playing. (at back horse\r\ngrazing \talso      \r\n<u>Goya</u> \t\tpen-and-ink (filled in with lines)\r\n\t\tgradations,\r\n\t\tprisms\r\n\t\tchildren more playful,\r\n\t\trounded\r\n\t\t<u>Masses</u>, not lines\r\n\t\ttransition","transcription":"\t\r\n\t\r\n<u>Chudá rodina</u> \t(1904) (<u>dobrý otisk</u>)   \r\nStařec kostnatý, založené ruce,\r\ndívá se stranou.\t Žena sedí\r\n2 děti si hrají. (vzadu kůň \r\nse pase\ttéž \r\n<u>Goya</u> \tperokresba (vyplněné čarami)\r\n\t\tstupňovité, \r\n\t\thranoly\r\n\t\tděti více hravě,\r\n\t\toble\r\n\t\t<u>Masy</u>, ne linie\r\n\t\tpřechod","coordinates":{"x":440,"y":1900,"width":1780,"height":1470},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cc9aae489fd97494cab69f1dbe4f1ba80","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"20 recto","sections":[{"sectionId":"sa8ff6196e6aa4dfbaa5faaed31e666ff","sectionNum":"71","translation":"1912\r\nwith tricolor. (<u>enamel</u>) stands out amazingly\r\namid sienna in picture. Otherwise mainly\r\nwhite, gray, brown\r\nColor planes\r\nNewspaper white plane (Matin)<sup>2</sup>\r\npipe white plane.\r\nLovely little piece.","transcription":"1912   \r\ns tricolorou. (<u>email</u>) úžasně vyznívá \r\nv Sieně v obrazu. Jinak hlavně\r\nběl, šeď, hněď\r\nBarevné plány\r\nNoviny bílý plán (Matin)\r\ndýmka bílý plán.\r\nPěkná věcička.","coordinates":{"x":2320,"y":320,"width":1870,"height":860},"relatedArt":[{"footNum":"1","copy":"<em>Our Future Is in the Air,</em> 1912. Oil and Ripolin on canvas, 5 3/4 x 8 3/4 in. (14.5 x 22 cm). Musée National d’Art Moderne, Centre Georges Pompidou, Paris. ","image":"footnotes/Lauder_71.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>French.</u> Morning, likely a reference to the daily newspaper <em>Le Matin.</em>"}],"colorNotes":{"id":"ca8ff6196e6aa4dfbaa5faaed31e666ff","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s7fb545dea27c44a6a25ba45e34323745","sectionNum":"70","translation":"1912\r\ntremendously refined\r\nmarvelous gray like satin, spread about\r\ndelicately, more silvery than 1910. \r\n\tWhite, ocher and rusty ocher, black\r\nBeautiful crystalline forms. \r\n\tTremendously fresh, simple piece \r\nPlanes gray and yellowish according to\r\npictorial necessity. <u>Opaque</u>\r\nPlank below is rust-colored, also table to left\r\n\tMarvelous synthesis. \r\nScaled progression of inclined planes\r\nPaint spread about, not restless\r\nlight 1911","transcription":"1912\r\nnesmírně nóbl\r\nbáječná šeď jako atlas, rozetřená\r\njemně, stříbrněji než 1910.\r\n\tBěl, okr a rezavý okr, čerň\r\nKrásné formy kristalinické.\r\n\tNesmírně svěží, jednoduchá věc\r\nPlány šedé a žlutavé dle\r\nobrazové potřeby. <u>Neprůsvitné</u> \r\nRezavé je prkno dole, a stůl v levo\r\n\tBáječná syntésa.\r\nStupnice řada šikmých plánů\r\nRozetřená barva, ne neklidné\r\nsvětlo 1911","coordinates":{"x":2320,"y":1210,"width":1870,"height":1645},"relatedArt":[{"footNum":"3","copy":"<em>Guitar, Glass, and Journal,</em> 1912. Oil on canvas, 15 x 23 7/8 in. (38 x 60.5 cm). Fondation Beyeler, Basel, Sammlung Beyeler. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 487","image":"footnotes/Lauder_70.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c7fb545dea27c44a6a25ba45e34323745","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s77f48d3a4a644dbf8a7a61e844089a20","sectionNum":"73","translation":"1911‒12\r\nOne of best still lifes. Perfect. \r\ntones: black, gray, yellow, some\r\nsalmon pink (bottle) brown. Sienna\r\n(mixture warm as a whole)","transcription":"1911‒12\r\nZ nejlepších zátiší. Dokonalé. \r\ntony: čerň, šeď, žluť, trochu\r\nlachsrosa (lahev) hněď. Siena\r\n(směsi teplý celek)","coordinates":{"x":2400,"y":2855,"width":1800,"height":560},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c77f48d3a4a644dbf8a7a61e844089a20","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":21,"left":{"side":"verso","title":"20 verso","sections":[{"sectionId":"s63b77ace10774aa38d472ef459ab361d","sectionNum":"73","translation":"All the techniques of <u>Woman with Zither</u>\r\nBlack contours of planes. \r\nYellowish knife handle (bone?)\r\nsteel gray.\r\nSpots as in 1910‒11, but also broadly.\r\n\tPerfect and yet fresh. \r\n<u>Realization</u>","transcription":"Všechny techniky co <u>Citeristka</u>\r\nČerné kontury plánů.\r\nŽlutavá střenka nože (kost?)\r\nocel šedavá. \t\t\r\nSkvrny co 1910‒11, ale i široce.\r\n\tDokonalé a přece svěží.\r\n<u>Realisace</u>","coordinates":{"x":420,"y":2640,"width":1760,"height":770},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c63b77ace10774aa38d472ef459ab361d","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"21 recto","sections":[{"sectionId":"sd2ad762ab5e24d16827338d02153d9a6","sectionNum":"69","translation":"\t\t\tcanvas, oil\r\nprobably already 1910, but completed or painted\r\n1911 <del>spring</del>. Some conflict. Nothing trying \r\nto please, almost dry, possibly one\r\nof the beautiful\r\nGray, white, black, ocher, sienna, brown\r\nOverall impression brown-black and white.\r\n\tSpot technique, elsewhere spread about\r\ndelicately, elsewhere canvas, elsewhere impas[toed]\r\npaint\r\n<u>Transparent planes</u>. (not all) \r\n<u>beautiful bust</u> like 1910\r\nBetter than 64 \tSpace.","transcription":"\t\t\tplátno, olej\r\nasi už 1910, ale dokončen či malován\r\n1911 <del>jaro</del>.  Jistý rozpor. Nic nechce \r\nse líbit, skoro suchý, možno že jeden\r\nz krásných\r\nŠeď, běl, čerň, okr, Siena, hněď\r\nCelkový dojem hnědočerný a bílý.\r\n\tTechnika skvrnitá, jinde rozetřená\r\njemně, jinde plátno, jinde pastos[ní]  \r\nbarva\r\n<u>Průhledné plány</u>. (ne všechny)\r\n<u>krásné poprsí</u> co 1910\r\nLepší než 64 \t\tProstor.","coordinates":{"x":2350,"y":330,"width":1810,"height":1345},"relatedArt":[{"footNum":"1","copy":"<em>Woman with a Guitar (“Ma Jolie”),</em> 1911‒12. Oil on canvas, 39 3/8 x 25 3/8 in. (100 x 64.5 cm). The Museum of Modern Art, New York, Acquired through the Lillie P. Bliss Bequest (by exchange). Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 430","image":"footnotes/Lauder_69.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cd2ad762ab5e24d16827338d02153d9a6","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sb1fa8e5756884242b7adb85fc22b6e9f","sectionNum":"60","translation":"1911\r\nairy like Renoir.\r\nVery sensitively spotted, in places a great deal \r\nof canvas. \tPaint thin. Spots\r\nhave darker edges\r\n\tWhite, gray, black, ocher, bit of sienna\r\nbrown.","transcription":"1911\r\nvzdušný co Renoir.\r\nVelmi citlivě skvrnitě, místy mnoho\r\nplátna. \tBarva řídká. Skvrny\r\nmají temnější okraje\r\n\tBěl, šeď, čerň, okr, trocha Sieny\r\nhněď.","coordinates":{"x":2350,"y":1680,"width":1810,"height":750},"relatedArt":[{"footNum":"2","copy":"<em>Vase of Flowers,</em> 1910‒11. Oil on canvas, 13 x 9 1/2 in. (33 x 24 cm). Private collection. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 377","image":"footnotes/Lauder_60.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cb1fa8e5756884242b7adb85fc22b6e9f","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sa9453f941d364b089e2cffa716019c2c","sectionNum":"59","translation":"1911\r\n<u>nothing but planes;</u> \t\tBottle contents \r\nsuggestive of reality. \t<u>Oil</u>! Contrast\r\nwith sharp vinegar. \r\nBeautiful little piece. Full of light.\r\nand space.","transcription":"1911\r\n<u>samé plány</u>;  \t\tRealitu připomíná\r\nobsah láhví. \t\t<u>Olej</u>! Kontrast\r\nk ostrému octu.\r\nKrásná věcička. Plno světla.\r\na prostoru.","coordinates":{"x":2340,"y":2450,"width":1810,"height":660},"relatedArt":[{"footNum":"3","copy":"<em>The Cruet,</em> 1911. Oil on canvas, 9 1/2 x 7 5/8 in. (24.1 x 19.2 cm). Sold Christie’s New York: May 15, 2018 (lot 20A). Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 370","image":"footnotes/Lauder_59.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"ca9453f941d364b089e2cffa716019c2c","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":22,"left":{"side":"verso","title":"21 verso","sections":[{"sectionId":"se91eb642d1404d84919eea74b478fd85","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"ce91eb642d1404d84919eea74b478fd85","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"22 recto","sections":[{"sectionId":"s1966124a19a2464c88807c8c74bfa841","sectionNum":"53","translation":"1910 end \r\n1911 <del>spring</del> beg[inning] \tcanvas, oil\r\nbrown, black, white and gray. some ocher\r\nand sienna. \tOverall tone gloomy,\r\ndeep. \t\tPaint sensitively applied\r\nwith small strokes of brush. Often canvas left [blank]. \r\n\tBeautiful little piece of intense spa-\r\ntial life. though left-hand side not\r\nfully resolved. \r\nPeculiar rusty tones. \r\nDeep chiaroscuro and crystalline\r\nforms.","transcription":"1910 konec \r\n1911 <del>jaro</del> poč[átek] \t\tplátno, olej\t\r\nhněď, čerň, běl a šeď. trochu okru \r\na Sieny. \tCelkový ton ponurý,\r\nhluboký. \tBarva citlivě nanášena\r\nmalými údery štětce. Často plátno ponecháno.\r\n\tKrásná věcička hlubokého prostoro-\r\nvého života. než levá strana ne \r\núplně rozřešena.\r\nZvláštní rezavé tony.\r\nHluboké chiaroscuro a krystalinické \r\nformy.","coordinates":{"x":2390,"y":350,"width":1810,"height":1170},"relatedArt":[{"footNum":"1","copy":"<em>Glass and Cup,</em> 1911. Oil on canvas, 10 5/8 x 13 3/4 in. (27 x 35 cm). Private collection. Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser,  1913), no. 53","image":"footnotes/Lauder_53.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c1966124a19a2464c88807c8c74bfa841","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s83da59269a904b91a6957ef017610a85","sectionNum":"56","translation":"1910‒11 \tcanvas, oil\r\nLighter, grayer than 53\r\nOtherwise same colors: white, gray, black,\r\nocher, sienna\r\nSpotted, sensitive, but spots not\r\nthe unified fields of Seurat, light\r\nor dark edges. Restless\r\ntremulous (<u>light</u>!) In places fields\r\nlarger, softly peaceful. Contrast","transcription":"1910‒11 \tplátno, olej\t\t\r\nSvětlejší, šedivější než 53\r\nJinak tytéž bary: běl, šeď, čerň, \r\nokr, Siena\r\nSkrvnité, citlivé, skvrny ale nejsou\r\njednotné plošky co Seurat, světlé   \r\nnebo temné kraje. Neklidné\r\ntřepotavé (<u>světlo</u>!) Místy plochy\r\nvětší, měkce klidné. Kontrast","coordinates":{"x":2400,"y":1530,"width":1780,"height":1020},"relatedArt":[{"footNum":"2","copy":"<em>Woman Playing the Violin,</em> 1911. Oil on canvas, 36 1/4 x 25 5/8 in. (92 x 65 cm). Staatsgalerie Moderne Kunst, Pinakothek der Moderne, Munich. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 393","image":"footnotes/Lauder_56.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c83da59269a904b91a6957ef017610a85","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sc3d22d5fed1a42518e810aa1bedaebfa","sectionNum":"64","translation":"1911, spring.\r\nsomewhat overwrought, heavy, more\r\nocher and sienna than 56. \tHere\r\nall possible brush techniques.\r\ngliding surfaces, spaciously painted and\r\nsharply applied fragments. Painted into one another\r\nnot side by side as in Seurat. ","transcription":"1911, jaro.\r\ntrochu přepracovaný, těžký, více\r\nokru a Sieny než 56. \tZde\r\nvšechny možné techniky štětce.\r\nklouzavé plochy, prostorně malované a\r\nostře nanesené útržky. Do sebe malované\r\nne vedle co Seurat.","coordinates":{"x":2370,"y":2580,"width":1800,"height":795},"relatedArt":[{"footNum":"3","copy":"<em>The Mandolin Player,</em> 1911. Oil on canvas, 39 5/8 x 27 3/8 in. (100.5 x 69.5 cm). Fondation Beyeler, Basel, Sammlung Beyeler. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 425","image":"footnotes/Lauder_64.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cc3d22d5fed1a42518e810aa1bedaebfa","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":23,"left":{"side":"verso","title":"22 verso","sections":[{"sectionId":"s6524578ad90f4612b20f0e7dfc34d686","sectionNum":"0","translation":"\r\n","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c6524578ad90f4612b20f0e7dfc34d686","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"23 recto","sections":[{"sectionId":"scb6b8f6b82af4d149b2fbd3de8130a38","sectionNum":"54","translation":"1910 spring.\r\nBeautiful, serious piece of deep tones and\r\ndramatic power.\r\nGiant step from 52. \t\t<u>Luminous</u>\r\n<u>planes</u> are now for the most part constructive \r\nagents. \tIntersect one another, and also space,\r\n\t\tvolume. \tEye on left\r\n\t\tis in shadow of crosswise plane\r\n\t\tEye on right also\r\n\t\tover vertical edge of plane\r\n\t\tgiving depth. Likewise nose\r\n\tColors: black, gray, b.[urnt] sienna {cut} with ocher\r\nsomewhat spread-about light emerald with\r\ngray, elsewhere with dark black, ocher,\r\nand combination","transcription":"1910 jaro.\r\nKrásný, vážný kus hlubokých tonů a\r\ndramatické síly.\r\nVeliký krok od 52. \t\t<u>Světelné</u> \r\n<u>plány</u> jsou už z větší části tvůrčí\r\nčinitelé. \tKříží se, a také prostor,\r\n\t\tvolumen. \tOko v levo\r\n\t\tje ve stínu příčného plánu\r\n\t\tOko v pravo je také\r\n\t\tpřes svislý roh plánů\r\n\t\tjdoucího do hloubky. Též nos\r\n\tBarvy: čerň, šeď, Siena pál[ená] {lomená} okrem  \r\ntrochu rozetřelé smaragdové světlé s\r\nšedí, jinde s černí tmavé, okr,\r\na kombinace","coordinates":{"x":2400,"y":330,"width":1860,"height":1575},"relatedArt":[{"footNum":"1","copy":"<em>Head of a Woman (Fernande),</em> 1910. Oil on canvas, 24 x 19 3/4 in. (61 x 50 cm). Museo Nacional Centro de Reina Sofia, Madrid. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 325","image":"footnotes/Lauder_54.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"ccb6b8f6b82af4d149b2fbd3de8130a38","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s55388b5e622a469286db6b78f7515b5b","sectionNum":"52","translation":"(1909) is material by comparison\r\nplanes mostly coincide with material\r\nsurface of face. But there are beginnings\r\nhere of pic[ture] 54.: forehead on right\r\n\tCompared to 54 trifling, details natural-\r\nistic (mouth!) Rather much \r\nstylization. \r\nBeautiful curtain at right, green saturated\r\nwith gray-reddish shadows At left\r\nmarvelously gray. Still life on sienna\r\ntable somewhat “flau”<sup>3</sup>  \tAstonishing \r\nhow head grows out of gigantic body. \r\nMonumental piece","transcription":"(1909) je materielní proti tomu\r\nplány kryjí se většinou s materielním\r\npovrchem obličeje. Ale počátky tu\r\njsou obr[az] 54.: čelo v pravo\r\n\tProti 54 titěrný, detaily natura-\r\nlistické (ústa!) Mnohá spíše \r\nstilisace.\r\nKrásná záclona v pravo, zelená sytě\r\nse stíny šedými do červena V levo\r\nbáječně šedé. Zátiší na Siena  \r\nstole trochu „flau“ \t\tÚžasně \r\nroste hlava z těla obrovského.\r\nMonumentální věc","coordinates":{"x":2650,"y":1900,"width":1600,"height":1510},"relatedArt":[{"footNum":"2","copy":"<em>Woman with Pears,</em> 1909. Oil on canvas, 36 1/4 x 27 7/8 in. (92.1 x 70.8 cm). The Museum of Modern Art, New York, Florene May Schoenborn Bequest. Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 52","image":"footnotes/Lauder_52.jpg","link":""}],"translatorNotes":[{"footNum":"3","note":"<u>German.</u> Dull, flat, or spiritless."}],"colorNotes":{"id":"c55388b5e622a469286db6b78f7515b5b","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":24,"left":{"side":"verso","title":"23 verso","sections":[{"sectionId":"s7a8887dfefe74bba8b699ed196ff76b5","sectionNum":"53","translation":"paint spread about in spots, but not\r\nas regular as 56 where they recall\r\nSeurat.","transcription":"barva rozetřena v skvrnách, ale ne \r\ntak pravidelných co 56 kde připomínají\r\nSeurat.","coordinates":{"x":405,"y":345,"width":1865,"height":350},"relatedArt":[{"footNum":"1","copy":"<em>Glass and Cup,</em> 1911. Oil on canvas, 10 5/8 x 13 3/4 in. (27 x 35 cm). Private collection. Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser,  1913), no. 53","image":"footnotes/Lauder_53.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c7a8887dfefe74bba8b699ed196ff76b5","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s706bda76fba848f7871db77bda7e03de","sectionNum":"64","translation":"not a matter of connecting spots, but\r\nglimmering light. Black, white, ocher\r\nrun together. \t\tElsewhere paint spread about\r\nrestless, yet light still more mild \r\n\tUses spots to mold a mysterious space,\r\ninterweaving it with various colors\r\n\tMandolin peaceful here local\r\ntones yellow","transcription":"o spojování skvrn se nejedná, ale\r\ntřpytící světlo. Černé, bílé, okrové\r\ndo sebe. \tJinde rozetřená barva\r\nneklidná, ale přece mírnější světlo\r\n\tSkvrnami hněte tajemný prostor,\r\nproplétá ho různými barvami\r\n\tMandoline už klidné lokální\r\ntony žluté","coordinates":{"x":405,"y":2390,"width":1815,"height":945},"relatedArt":[{"footNum":"2","copy":"<em>The Mandolin Player,</em> 1911. Oil on canvas, 39 5/8 x 27 3/8 in. (100.5 x 69.5 cm). Fondation Beyeler, Basel, Sammlung Beyeler. Identification: Pierre Daix and Joan Rosselet, <em>Picasso: The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works</em> (Boston: New York Graphic Society, 1979), no. 425","image":"footnotes/Lauder_64.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c706bda76fba848f7871db77bda7e03de","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"24 recto","sections":[{"sectionId":"s4c8afd7d349542a1933436d14ae0c10e","sectionNum":"32","translation":"yellowish <u>background</u>\r\n[sketch]<sup>2</sup>  \tHere now independent\r\n\t\tPieces and sections of vessels\r\n\t\tlike later\r\n\t\tDeformation of pitcher.\r\n<u>Cézanne</u> would have rendered it in color tones\r\nbeautiful form was latent. Here\r\nform emphasized, <u>lines in general</u> basis\r\nof composition. Chiaroscuro, and in addition\r\ncombined color <u>brilliant like</u> [El] <u>Greco’s</u>, not\r\nthe plein air of <u>Cézanne</u>.","transcription":"žlutavé <u>pozadí</u>  \r\n[sketch]<sup>2</sup> \tZde už samostatné\r\n\t\tKusy a úseky nádob\r\n\t\tco později\r\n\t\tDeformace džbánu.\r\n<u>Cézanne</u> by to podal v barevných tonech\r\nkrásná forma <del>by</del> byla latentní. Zde\r\nforma zdůrazněna, <u>linie vůbec</u> základem\r\nkompozice. Chiaroscuro, a k tomu\r\nkombinovaná barva <u>skvělá</u> [el] <u>Grecova</u>, ne\r\npleineirní <u>Cézanna</u>.","coordinates":{"x":2340,"y":330,"width":1830,"height":1580},"relatedArt":[{"footNum":"1","copy":"<em>Still Life (Still Life with Bouquet of Flowers),</em> 1908. Oil on canvas, 15 1/8 x 18 3/8 in. (38.2 x 46.5 cm). Sold Sotheby’s New York: November 4, 2014 (lot 27). Identification: Jana Claverie, <em>Vincenc Kramář: Un théoricien et collectionneur du cubisme à Prague</em> (Paris: Reunions des Musées Nationaux, 2002), p. 227","image":"footnotes/Lauder_32.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c4c8afd7d349542a1933436d14ae0c10e","coordinates":{"x":2420,"y":345,"width":760,"height":850},"transcriptionNotes":{"image":"footnotes/folio-24-translation.svg","alt":""},"translationNotes":{"image":"footnotes/folio-24-translation.svg","alt":""}}},{"sectionId":"s079d8720148b4f46ab6ab368c5d3246f","sectionNum":"52","translation":"1909 autumn 80x60 \t\tCanvas, oil\r\nBur[nt] sienna with white, dark, some ocher,\r\ngray, black, white, emer[ald] green brilliant\r\nand pale with gray. \r\nCharacteristic mixture of sienna and gray.\r\n\tKräftig!<sup>4</sup>  \tAmong most beautiful works of 1909\r\nFrom <u>sculpture</u> period. <u>Painted</u>\r\n\tHere closer to Cézanne, more \r\nmodeling and in fact just\r\n<u>a richer Ingres</u>. Light, sculpture\r\ndominant, and light increasingly decolorizes","transcription":"1909 podzim 80x60 \tPlátno, olej\r\nSiena pál[ená] s bílou, temná, trochu okru,\r\nšeď, čerň, běl, smaragd[ová] zeleň skvělá\r\na bledé s šedí.\r\nCharakteristické směsí Sieny a šedi.\r\n\tKräftig! \tZ nejkrásnějších děl 1909\r\nZ doby <u>plastiky</u>. <u>Malováno</u>\r\n\tZde bližší Cézanna, více \r\nmodelace a fakticky opět jen\r\n<u>bohatší Ingres</u>. Světlo, plastika\r\nhlavní, a světlo stále více odbarvuje","coordinates":{"x":2340,"y":1995,"width":1790,"height":1420},"relatedArt":[{"footNum":"3","copy":"<em>Woman with Pears,</em> 1909. Oil on canvas, 36 1/4 x 27 7/8 in. (92.1 x 70.8 cm). The Museum of Modern Art, New York, Florene May Schoenborn Bequest. Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 52","image":"footnotes/Lauder_52.jpg","link":""}],"translatorNotes":[{"footNum":"4","note":"<u>German.</u> Full-blooded, vigorous, or substantial."}],"colorNotes":{"id":"c079d8720148b4f46ab6ab368c5d3246f","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":25,"left":{"side":"verso","title":"24 verso","sections":[{"sectionId":"s88c3f640556d4c078cbf72386ae85dbe","sectionNum":"52","translation":"Compared to 1908 light becoming\r\nconstructive agent of form. Beneath eyes\r\nwhite <del>gray</del> reflection, and entire face on left is\r\nhollowed out (like sculpture.\r\nLight isn’t simple, but according to \r\nrhythmic need. Hence also colors\r\nas in 1907‒08. \r\nOverall decomposition still based on form\r\nof body, structure. At left however now\r\nthat viewpoint ruptured. <u>Light reality</u>\r\n\tNeck likewise hollowed out. White-gray\r\nridge.","transcription":"Proti 1908 světlo stává se\r\ntvůrčím činitelem formy. Pod očima\r\nbílý <del>šedý</del> reflex, a celá tvář v levo je\r\nvyhloubená (co plastika.\r\nSvětlo není jednoduché, ale dle\r\nrytmické potřeby. Odtud také barvy\r\njako už 1907‒08.\r\nV celku rozklad ještě od formy\r\ntěla, struktury. V levo ovšem už\r\nprolomen ten názor. <u>Světlo realita</u>\r\n\tKrk též vyhlouben. Bělošedavý\r\nútes.","coordinates":{"x":450,"y":1755,"width":1830,"height":1350},"relatedArt":[{"footNum":"1","copy":"<em>Woman with Pears,</em> 1909. Oil on canvas, 36 1/4 x 27 7/8 in. (92.1 x 70.8 cm). The Museum of Modern Art, New York, Florene May Schoenborn Bequest. Illustrated in <em>Ausstellung Pablo Picasso,</em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 52","image":"footnotes/Lauder_52.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c88c3f640556d4c078cbf72386ae85dbe","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"25 recto","sections":[{"sectionId":"s2effb1fed652479fafa4f537f3d172d1","sectionNum":"41","translation":"In 1907 realizes what a picture is\r\nabandons literature and 1908 first \r\nstrong organic works. In 1907 too\r\noutwardly decorative\r\nColor in 1907 is more sensitive than 1901,\r\nwhen main influence [Van] Gogh, can’t \r\nexplain without <u>Matisse</u>. (even his cheerful\r\ntones, surfaces) only more hard,\r\nunyielding. Something metallic or stone-\r\nlike to it. Pictures as if from gemstones.\r\nColor doesn’t breathe. remains\r\non surface. \tRelationships are sophisticated\r\nlike 1905. \r\nOften results almost coarse, color\r\nstraight from the tube. \tIt’s an animal\r\njoy, again like 1912. \r\n\tAs if he were trying to shed the old culture,\r\ntoward distinct elements, lines and\r\npure colors. (<u>fauves</u>)\r\nPicture intended as pure expression of aesthetic\r\ndesires and man-made relationship of lines and colors.\r\nLeads him to decoration as in Matisse. \r\n\tBut slowly his viewpoint grows\r\nuntil here a <u>true picture emerges</u>.\r\nHis aide in this is <u>Cézanne</u>.\r\n1908 transition from stylism to viewpoint","transcription":"V 1907 uvědomuje si, co je obraz\r\nupouští literaturu a 1908 první\r\nsilná díla organická.\t V 1907 příliš\r\nvnějšně dekorativní\r\nBarva v 1907 je citlivější než 1901,\r\nKdy hlavně vliv [van] Gogh, nedá se bez\r\n<u>Matisse</u> vysvětlit. (i jeho veselé\r\ntony, plochy) než více tvrdá,\r\nnepoddajná. Něco kovového nebo kamen-\r\ného má. Obrazy jako z drahokamů.\r\nBarva nerespiruje. zůstává\r\nv ploše. \tVztahy jsou raffinované\r\njako 1905.\r\nČasto effekty až hrubé, barva\r\npřímo z tuby. \tJe to animální\r\nradost, jaká opět 1912.\r\n\tJako by se chtěl zbavit staré kultury,\r\nk prvkům výrazným, liniím a\r\nčistým barvám. (<u>fauves</u>)\r\nObraz má být čistý výraz estetických\r\ntuh a umělý poměr linií a barev.\r\nVede ho k dekoraci co Matisse.\r\n\tAle pomalu roste jeho názor\r\naž tu <u>vyvstává skutečný obraz</u>.\r\nPomocníkem je mu <u>Cézanne</u>.\r\n1908 přechod od stilismu k názoru","coordinates":{"x":2370,"y":340,"width":1800,"height":2995},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c2effb1fed652479fafa4f537f3d172d1","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":26,"left":{"side":"verso","title":"25 verso","sections":[{"sectionId":"s7f8eaddcf5b14b0bb27d07fa9b0bb3f2","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c7f8eaddcf5b14b0bb27d07fa9b0bb3f2","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"26 recto","sections":[{"sectionId":"sc7a5a8ccd83e4a5b8fbaeb701f1d95e5","sectionNum":"49","translation":"1908 \t\t(paper, <del>watercolor</del> gouache) \r\nbrilliant, like 39\r\nStudy for Stein’s picture\r\nBur[nt] sienna and Berlin blue.\r\ncrimson, some ocher. \r\n\tContemporaneous with 42. Body of study of woman\r\ndivided in same way. \r\nHow much sculpture there is here!\r\nCompared to 1907, where he draws more with brush,\r\nagain painting expansively.","transcription":"1908 \t\t(papír, <del>aquarel</del> gouache)\r\nskvělé, jako 39\r\nStudie k Steinovu obrazu\r\nPál[ená] Siena a Berlínská modř.\r\npurpur, trochu okru.\r\n\tSoučasné s 42. Tělo studie ženy\r\nstejně pak rozdělen.\r\nCo tu je plastiky!\r\nProti 1907, kde štětcem více kreslí,\r\nopět maluje široce.","coordinates":{"x":2355,"y":330,"width":1820,"height":1100},"relatedArt":[{"footNum":"1","copy":"<em>Three Women (Study for Three Women),</em> 1907. Gouache and tempera on cardboard, 20 1/8 x 18 7/8 in. (51 x 48 cm). Musée National d’Art Moderne, Centre Georges Pompidou, Paris, Donation M. et Mme André Lefèvre, 1952. ","image":"footnotes/Lauder_49.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cc7a5a8ccd83e4a5b8fbaeb701f1d95e5","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s50e0e18588664c20aa7cedb92aff5c6a","sectionNum":"41","translation":"1908 beg.[inning] \t\t(paper, gouache)\r\n<u>outstandingly painted</u>, sensitively, leaving\r\nwhite areas, advantages of watercolor and\r\ngouache. \r\nCompared to 1907 color Matisse-like or\r\nCézanne, sensitive to spatial relationships\r\n(1907 harsh, flat) Breathes\r\n\tMoving toward sculpture and space, \r\nbut not yet solid sculptural abbreviation\r\n<u>Purely painterly means</u>, <u>color</u>\r\n(at that time in 1908 he probably first seriously\r\noccupied himself with <u>Cézanne</u><del>)</del>. Through his influence\r\nprobably also toward modulation from pure, coarse\r\ncolors in 1907. \tFrom contour to\r\n<u>mass</u>","transcription":"1908 poč.[átek] \t(papír, gouache)\r\n<u>výborně malováno</u>, citlivě, s vynecháním\r\nbílých míst, výhody aquarelu i\r\ngouache.\r\nProti 1907 barva Matissovská či \r\nCézanne, citlivé pro prostorové vztahy\r\n(1907 tvrdá, plošná) Respiruje\r\n\tSměrem k plastice a prostoru,\r\nale ještě ne tuhá plastická zkratka\r\n<u>Čistě malířskými prostředky</u>, <u>barvou</u>\r\n(v té době 1908 poprvé asi vážně\r\nse obíral <u>Cézannem</u><del>)</del>. Jeho vlivem\r\nasi také k modulaci od čistých, hrubých\r\nbarev v 1907. \tOd kontury k \r\n<u>mase</u>","coordinates":{"x":2355,"y":1460,"width":1820,"height":1790},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c50e0e18588664c20aa7cedb92aff5c6a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":27,"left":{"side":"verso","title":"26 verso","sections":[{"sectionId":"sb6c9acb6c47f4a5997434b3cacccf149","sectionNum":"41","translation":"Orange, ocher, bur[nt] sienna, light and\r\ndark Berl[in] blue. dirty green\r\n\tMarvelously differentiated colors\r\nwholesome, rich. (Everything from 19<del>5</del>05 is\r\nkränklich,<sup>1</sup>  overly zerbrechlich)<sup>2</sup>  \r\n<del>(</del>spread-legged figure<del>)</del>\r\nLimbs spread just by leaving\r\nwhite ground. \r\n(1905 rarely painted things\r\nordinarily associated with one another, Chiaroscuro\r\nand color flat just refines. This is <u>Ingres</u>. \r\nSee the Dutch woman, Pierrot!\r\nSelf-portrait a <u>modern Ingres</u>\r\nSame no. 11, just stronger Chiaroscuro.\r\nCompletely faded colors flat\r\n{Especially no. 17.}","transcription":"Oranž, okr, Siena pál[ená], světlá a\r\ntmavá modř Berl[ínská]. zeleň špinavá\r\n\tBáječné differencované barvami\r\nzdravá, sytá. (Vše z 19<del>5</del>05 je\r\nkränklich, příliš zubrechlich)\r\n<del>(</del>rozkročená figura<del>)</del>\r\nÚdy rozloženy alespoň vynecháním \r\nbílého základu.\r\n(1905 zřídka maloval skutečně,\r\nobyčejně spojeny různé věci, Chiaroscuro\r\na barva plošná jen raffinuje. Je to <u>Ingres</u>.\r\nViz Hollanďanka, Pierrot!\r\nAutoportret je <u>moderní Ingres</u>\r\nTéž č. 11, jen silnější Chiaroscuro.\r\nZcela vybledlé barvy plošné\r\n{Zvláště pak č. 17.}","coordinates":{"x":380,"y":1520,"width":1865,"height":1860},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"1","note":"<u>German.</u> Pasty or weak."},{"footNum":"2","note":"<u>German.</u> Frail or fragile."}],"colorNotes":{"id":"cb6c9acb6c47f4a5997434b3cacccf149","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"27 recto","sections":[{"sectionId":"sbc993b27320e48398192a9e0d0a4f51f","sectionNum":"33","translation":"1907 \t\t(canvas, oil) \r\nface sulfur yellow. Nose dark\r\nrose with blue lines. Light on\r\nedge light blue \r\nContours black. Eyebrows light blue\r\nlike eyes. Forehead same colors as nose in\r\nleft section. Blue line divides from yellow\r\non right. Arm<sup>2</sup>  yellow\r\n\tNose on left twisted. [illegible]\r\nGreat deal of white canvas. \r\nDecoration.","transcription":"1907 \t\t(plátno, olej)\r\nobličej žlutý sírově. Nos temně \r\nrůžový s modrými čarami. Světlo na\r\nkraji světle modré\r\nKontury černé. Obočí světle modré\r\njako oči. Čelo téže barvy co nos v\r\nlevé části. Modrá čára dělí od žluté\r\nv pravo. Ruka žlutá\r\n\tNos na levo ztočen. [nečitelný]\r\nMnoho bílého plátna.\r\nDekorace.","coordinates":{"x":2365,"y":360,"width":1810,"height":1150},"relatedArt":[{"footNum":"1","copy":"<em>Study for Demoiselles d’Avignon,</em> 1907. Oil on canvas, 29 1/2 x 13 in. (75 x 33 cm). Staatsgalerie Stuttgart, Steegmann Collection. ","image":"footnotes/Lauder_33.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"It is unclear whether this translates to “arm” or “hand.” The final determination depends on examining the work, which has yet to be conclusively identified."}],"colorNotes":{"id":"cbc993b27320e48398192a9e0d0a4f51f","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s6caea6fba4c14784ba8a8d9725de20ec","sectionNum":"26","translation":"1907 \t\t(canvas, oil.) \r\nTable lined with black horizontals, on right {in back}\r\nperpendicular to it, greenish mug with\r\nred stripes Contours black\r\ngreen leaves two yellow with black\r\ncontours. Background behind them\r\ncopper red. At left in various\r\nbroken cold tones, at right green\r\nblue-brown. \r\n<u>Matisse</u> is pleasing compared to this\r\nblunt art. \tSpace entirely\r\nby way of planar means. \r\n\tGreat deal of paint applied. ","transcription":"1907\t\t(plátno, olej.)\r\nStůl černě čarován vodorovně, v pravo {zadu}\r\nkolmo na to, hrnek zelenavý s \r\nčervenými čarami Kontury černé\r\nzelené listy dva žluté s černými \r\nkonturami. Pozadí za nimi\r\nměděně červené. Na levo v různé   \r\nlomené studené tony, v pravo zeleno\r\nmodrohnědé.\r\n<u>Matisse</u> je líbivý proti tomuto\r\nstrohému umění. \tProstor zcela\r\nplošnými prostředky.\r\n\tMnoho barvy naneseno.","coordinates":{"x":2370,"y":1515,"width":1810,"height":1440},"relatedArt":[{"footNum":"3","copy":"<em>Bouquet in a Vase,</em> 1907. Oil on canvas, 22 1/8 x 15 1/4 in. (56 x 38.5 cm). Sold Sotheby’s London: June 24, 2014 (lot 116). ","image":"footnotes/Lauder_26.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c6caea6fba4c14784ba8a8d9725de20ec","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sad9fa07ef91c418d9892e169a1502fc9","sectionNum":"31","translation":"1907 \t\t(canvas, oil)\r\ntransition to 1908. Vivid colors gone.\r\nblack, bur[nt] sienna, ocher. white canvas and\r\nbrown","transcription":"1907 \t\t(plátno, olej)\r\npřechod k 1908. Živé barvy pryč.\r\nčerň, siena pál[ená], okr. bílé plátno a\r\nhněď","coordinates":{"x":2370,"y":2950,"width":1785,"height":405},"relatedArt":[{"footNum":"4","copy":"<em>Head of a Woman,</em> 1907. Oil on canvas, 18 1/8 x 13 in. (46 x 33 cm). Barnes Foundation, Philadelphia. Identification: Jana Claverie, <em>Vincenc Kramář: Un théoricien et collectionneur du cubisme à Prague</em> (Paris: Reunions des Musées Nationaux, 2002), p. 228","image":"footnotes/Lauder_31.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cad9fa07ef91c418d9892e169a1502fc9","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":28,"left":{"side":"verso","title":"27 verso","sections":[{"sectionId":"s288874caa0f64e43bb12fce30b8ccc11","sectionNum":"31","translation":"Transition to sculpture, light\r\nInfluence of idols.\r\n\t\tBackground dark. Head shining \r\n\t\tout of it.","transcription":"Přechod k plastice, světlu\r\nVliv bůžků.\r\n\t\tPozadí tmavé. Z toho svítí \r\n\t\thlava.","coordinates":{"x":390,"y":2770,"width":1850,"height":460},"relatedArt":[{"footNum":"1","copy":"<em>Head of a Woman,</em> 1907. Oil on canvas, 18 1/8 x 13 in. (46 x 33 cm). Barnes Foundation, Philadelphia. Identification: Jana Claverie, <em>Vincenc Kramář: Un théoricien et collectionneur du cubisme à Prague</em> (Paris: Reunions des Musées Nationaux, 2002), p. 228","image":"footnotes/Lauder_31.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c288874caa0f64e43bb12fce30b8ccc11","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"28 recto","sections":[{"sectionId":"s37fa6979d46c43f6bdce0c9c4777fc23","sectionNum":"29","translation":"1906 (?) \r\nblue ground at left, at right\r\nreddish. \tHead likewise red\r\n(Venetian)\r\nDrier than in rose period. An\r\nattempt of sorts at sculpture.\r\nColor relationships always marvelous.\r\n(all 3 of these pieces show intentional\r\nhardening. Renunciation of attractiveness of 1905,\r\nusing one color. More drawings than paintings, at \r\nmost sculptural modeling,\r\n\tYet here too the mannerism \r\n<u>characteristic</u>","transcription":"1906 (?)\r\nmodrý základ v levo, v pravo\r\nčervenavý. \tHlava též červená\r\n(benátská)\r\nSušší než v rosa periodě. Jakási \r\nsnaha po plastice.\r\nPoměr barev vždy báječný.\r\n(všechny ty 3 věci jsou ještě úmyslné\r\nztvrdnutí. Vzdání se líbivosti 1905,\r\njednou barvou. Více kresby než obrazy, na\r\nnejvýše modelace skulpturální,\r\n\tPřesto i zde jakási manýra\r\n<u>typová</u>","coordinates":{"x":2380,"y":360,"width":1820,"height":1430},"relatedArt":[{"footNum":"1","copy":"<em>Female Head (Profile of Fernande Olivier),</em> 1906. Gouache on paper, 12 5/8 x 15 3/4 in. (32 x 40 cm). Prins Eugens Waldemarsudde Museum, Stockholm. ","image":"footnotes/Lauder_29.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c37fa6979d46c43f6bdce0c9c4777fc23","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sb0c1ca529c1843ae814a3b849c4209a5","sectionNum":"34","translation":"1907\t \t(canvas, oil)\r\nbody sulfur yellow, but also segments\r\nfrom right shoulder to knee and from\r\nhead to left shoulder.\tContours\r\nof body green (emerald) shadows blue\r\n(sky) ar[ound] eyes and face on right\r\ntoward neck red lines. In places Prussian.\r\n\tTo left of body darker area sky\r\nblue, then ocher spotted on\r\ncanvas\t\t. (brown-red lines in blue)\r\nlike hair\r\n\tEdge of yellow upper segment\r\nred lines, then dark red corner\r\n\tBetween shoulders: at right yellow and red","transcription":"1907 \t\t(plátno, olej)\r\ntělo sírově žluté, ale též segmenty\r\nod pravého ramene ku koleni a od \r\nhlavy k levému rameni. \tKontury\r\ntěla zelené (smaragd) stíny modré\r\n(blankyt) kol[em] očí a obličeje v pravo\r\nke krku červené linie. Místy Pruská.\r\n\tV levo od těla tmavší pole modř\r\nblankytná, pak okr skvrnovitě na\r\nplátně\t\t. (v modři hnědočervené čáry)\r\njako vlasy   \r\n\tKraj žlutého segmentu hořeního\r\nčervené čáry, pak tmavě rudý roh\r\n\tMezi rameny: v pravo žluť a červeň","coordinates":{"x":2365,"y":1850,"width":1790,"height":1520},"relatedArt":[{"footNum":"2","copy":"<em>Standing Nude Woman,</em> 1907. Oil on canvas, 36 5/8 x 17 in. (93 x 43 cm). Civiche Raccolte d’Arte, Milan. ","image":"footnotes/Lauder_34.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cb0c1ca529c1843ae814a3b849c4209a5","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":29,"left":{"side":"verso","title":"28 verso","sections":[{"sectionId":"s01645c8d13a940c2ae19191cf4f0f7eb","sectionNum":"34","translation":"Between legs green and red. On\r\nbody green lines. On blue \r\nin right corner orange lines.\r\n\tDecoration, which Kandinsky thrives on.\r\nVivid sensitive colors, Matisse-like, not\r\n[Van] Gogh. \t\tContrast and analogy\r\n\tArrangement overly “schnörkelhaft”<sup>2</sup> \r\nCompared to Matisse attempt now at volume.\r\n\tNo distinct body color, but rather\r\nfully shares it with background","transcription":"Mezi nohami zeleň a červeň. Na\r\ntěle zelené čáry. Na modři\r\nv pravém rohu čáry oranžové.\r\n\tDekorace, z níž žije Kandinský.\r\nŽivé barvy citlivé, Matissovské, ne\r\n[van] Gogh. \t\tKontrast a analogie\r\n\tRozložení příliš „schnörkelhaft“\t\r\nProti Matissovi už snaha po volumen.\r\n\tŽádná zvláštní barva těla, nýbrž \r\núplně sdílí je s pozadím","coordinates":{"x":430,"y":1850,"width":1850,"height":1165},"relatedArt":[{"footNum":"1","copy":"<em>Standing Nude Woman,</em> 1907. Oil on canvas, 36 5/8 x 17 in. (93 x 43 cm). Civiche Raccolte d’Arte, Milan. ","image":"footnotes/Lauder_34.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>German.</u> Ornate."}],"colorNotes":{"id":"c01645c8d13a940c2ae19191cf4f0f7eb","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"29 recto","sections":[{"sectionId":"s21ae50c4a187411e8d23838dde3e336a","sectionNum":"5","translation":"1905 \t\t(Canvas, oil)\r\nAmong most beautiful pieces of <u>rose p.</u>[eriod]\r\nground {rose} reddish wallpaper with colorful bouquets. \r\n(copper red unusual)\r\nHead however isn’t perfectly within plane.\r\ncreates relief. and not at all with color\r\nbut chiaroscuro. \tClothing Knallblau<sup>2</sup> \r\n<del>cobalt</del> ultramarine Sits spread-legged, pipe in left\r\nhand, right down toward stool. \r\n\tExpression astonishing\t, painful,\r\nhere painted prophetically, but is\r\none of those pieces on a razor’s edge, like\r\nthe girl at Stein’s (same blue) \r\n\t\tearlier Berlin [blue]\r\n\tSur[rounding] head red flowers wreath\r\nred different from background and roses\r\nin bouquets.\r\nSome of sophistication of <u>Redon</u>. fusion of\r\nchiaroscuro and colors\r\n\t(Expressive shifts subtle, these\r\nPicasso created.","transcription":"1905 \t\t(Plátno, olej)\t\r\nZ nejkrásnějších věcí <u>rosa p.</u>[eriody]\r\nzáklad {rosa} červenavá tapeta s kyticemi barevnými.\r\n(měděná červeň zvláštní)\r\nHlava ovšem není dokonale v ploše.\r\ndělá relief. a vůbec ne barevně\r\nale chiaroscuro. \tŠat knallblau\r\n<del>kobalt</del> ultramarin Sedí rozkročen, v levé\r\nruce dýmku, pravá svislá k stoličce.\r\n\tVýraz úžasný\t, bolestný,\r\nuž malováno divinatorsky, ale je to\r\nz oněch věcí na ostří nože, co\r\ndívka u Steina (táž modř) \r\n\t\tdříve Berlín [modř]  \r\n\tKol[em] hlavy červené květy věnec\r\nčerveň odchylná od pozadí i růží\r\nv kyticích.\r\nTrochu raffinerie <u>Redona</u>. spojení\r\nchiaroscura a barev\r\n\t(Výrazové posuny jemné, jaké\r\nstvořil Picasso.","coordinates":{"x":2365,"y":360,"width":1790,"height":2170},"relatedArt":[{"footNum":"1","copy":"<em>Boy with a Pipe, </em> 1905. Oil on canvas, 39 1/4 x 32 in. (99.7 x 81.3 cm). Sold Sotheby’s New York: May 5, 2004 (lot 7). ","image":"footnotes/Lauder_5.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>German.</u> Common in botanical usage, this term refers to a deep royal or ultramarine blue tinged with violet."}],"colorNotes":{"id":"c21ae50c4a187411e8d23838dde3e336a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"saae355622d574725940f50007fd3d811","sectionNum":"4","translation":"1905\r\nFrom same period as 5. \tBluish table?\r\nwall reddish. \t\tSketched picture \r\nof a Madonna.\r\nObjects almost hazed over.\r\nBrown teakettle, green cup but\r\n\t<u>Prophetically</u>. What taste in color\r\nand how sensitive.","transcription":"1905\r\nZ téže doby co 5. \tModravý stůl?\r\nstěna do červena. \tObraz naskicnut\r\nnějaké madony.\r\nPředměty jako nadechnuty.\r\nHnědá konvice, zelený šálek ale\r\n\t<u>Divinatorsky</u>. Jaký vkus barevný \r\na jak citlivé.","coordinates":{"x":2365,"y":2530,"width":1820,"height":850},"relatedArt":[{"footNum":"3","copy":"<em>Still Life with Painting, </em> 1906. Oil on canvas, 32 1/8 x 39 5/8 in. (81.5 x 100.5 cm). Gregory Callimanopulous Collection, New York. Identification: Enrique Mallen, ed., <em>Online Picasso Project</em> (Huntsville, Tex.: Sam Houston State University, 1997‒2019), no. OPP.06:094","image":"footnotes/Lauder_4.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"caae355622d574725940f50007fd3d811","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":30,"left":{"side":"verso","title":"29 verso","sections":[{"sectionId":"secf974d03957422bacf8b5e56159cca3","sectionNum":"5","translation":"The most beautiful picture of early period\r\nBouquet flat: matte crimson, green\r\nVeronese x Brillant,<sup>2</sup>  white broken in color,\r\nnot much cobalt blue. \r\n\tMarvelous how gelassene<sup>3</sup>  he sits\r\nPassively (,<del>resigned</del>) under weight of inspiration. \r\n\tNothing immodest about the fact that\r\nhe has garlanded himself. \t\tTremendously sophisticated\r\nstrawberry red. \r\nExpression astonishing, painful","transcription":"Je nejkrásnější obraz časné doby\r\nKytice plošně: purpur matný, zeleň\r\nVeronese x Brillant, bílá barevně lomená,\r\nmodř kobalt málo.\r\n\tBáječně, jak sedí gelassene\r\nPasivně (,<del>odevzdán</del>) pod tíhou inspirace.\r\n\tNic není na tom neskromného, že\r\nse ověnčil. \tNesmírně raffinovaná\r\nčerveň jahodová.\r\nVýraz úžasný, bolestný","coordinates":{"x":405,"y":340,"width":1870,"height":1275},"relatedArt":[{"footNum":"1","copy":"<em>Boy with a Pipe, </em> 1905. Oil on canvas, 39 1/4 x 32 in. (99.7 x 81.3 cm). Sold Sotheby’s New York: May 5, 2004 (lot 7). ","image":"footnotes/Lauder_5.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>French.</u> Bright, brilliant, or luminous."},{"footNum":"3","note":"<u>German.</u> Calm, serene, or unperturbed."}],"colorNotes":{"id":"cecf974d03957422bacf8b5e56159cca3","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"30 recto","sections":[{"sectionId":"s75798fc58ce94fdc8fee777e3890a5e7","sectionNum":"28","translation":"1904 \t\t(canvas, oil)\r\nno longer as heavy-handed as 1903\r\nbody bony. No longer that collapsed mass.\r\nStructure holds the pressure.\r\nLine gains in importance. \tHeavy\r\ncolor has given way to light tones of blue,\r\ngray and yellow. \r\n\tArtificiality of gesture startling. Degas’s \r\nwomen ironing more powerful\r\n\t\tHead a bit too ornamental. \r\n\t\t\t<u>What three-dimensionality!</u>\r\n\t\t\t[illegible]\r\n\t\t\t(quite close to no. 10!) ","transcription":"1904 \t\t(plátno, olej)\r\nuž není tak těžkopádné co 1903\r\ntělo kostnaté. Už ne ta shroucená masa.\r\nStruktura drží ten tlak.\r\nLinie nabývá významu. \tTěžká\r\nbarva ustoupila lehkým tónum modravým,\r\nšedavým a žlutavým.\r\n\tUmělost gesta zaráží. Degasovy\r\nžehličky silnější\r\n\t\tHlava trochu moc ornamental.\r\n\t\t\t<u>Jaká prostorovost!</u>\r\n\t\t\t[nečitelný]\r\n\t\t\t(dost blízký č. 10!)","coordinates":{"x":2350,"y":390,"width":1820,"height":1400},"relatedArt":[{"footNum":"1","copy":"<em>Woman Ironing,</em> 1904. Oil on canvas, 45 3/4 x 28 3/4 in. (116.2 x 73 cm). Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser, 1978. ","image":"footnotes/Lauder_28.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c75798fc58ce94fdc8fee777e3890a5e7","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"sa3fff58e0ffe4585878c1faf35ee61cd","sectionNum":"18","translation":"1904. \t\t(canvas, oil)\r\nEnd of blue period. \t\tKräftig.<sup>3</sup>  \r\nMore pleasing than Woman Ironing\r\nMagical yellow light gives way to\r\n<del>more natural</del> more lifelike one. Warm yellow and\r\nstrongly applied. \r\nPicture has energetic handling. \r\n\tBodies lithe, but bony.\r\nnot that passive mass of 1902‒03\r\n\tArtistic element triumphs here\r\nover literature. ","transcription":"1904. \t\t(plátno, olej)\r\nKonec modré periody. \tKräftig. \r\nPříjemnější než Žehlička\r\nMagické žluté světlo ustupuje\r\n<del>přirozenĕjšímu</del> životnějšímu. Teple žluté a\r\nsilně nasazeno.\t\r\nObraz má energické vedení.\r\n\tTěla ovšem svižná, ale kostnatá.\r\nne ona pasivní masa 1902‒03\r\n\tVýtvarný prvek vítězí tu\r\nnad literaturou.","coordinates":{"x":2350,"y":1805,"width":1820,"height":1210},"relatedArt":[{"footNum":"2","copy":"<em>The Couple, </em> 1904. Oil on canvas, 39 3/8 x 31 11/16 in. (100 x 80.5 cm). Private collection. Illustrated in Ausstellung <em>Pablo Picasso, </em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser,  1913), no. 18","image":"footnotes/Lauder_18.jpg","link":""}],"translatorNotes":[{"footNum":"3","note":"<u>German.</u> Full-blooded, vigorous, or substantial."}],"colorNotes":{"id":"ca3fff58e0ffe4585878c1faf35ee61cd","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":31,"left":{"side":"verso","title":"30 verso","sections":[{"sectionId":"sa93dc65d3af4402e9d884f7eb6ea854a","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"ca93dc65d3af4402e9d884f7eb6ea854a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"31 recto","sections":[{"sectionId":"s9764f6848abf43ffbb3e026b0ad5678c","sectionNum":"25","translation":"When? 1901‒02 \tsign.[ed] (canvas, oil)\r\nstill a great deal of materialism here\r\nbland picture despite its vital perfection \r\nLacks magical power\r\nMagical light triumphs, but still\r\nnot entirely. Still ordinary reality here.\r\n<u>Plenty of color</u>.\r\nInfluence of [El] <u>Greco’s</u> here now, but at same time\r\n[Van] Gogh’s. \tDrawing with brush. \r\n\tPicture colorful at right in corner\r\ncolors [El] <u>Greco’s</u>.\r\nNot fully developed blue style. ","transcription":"Kdy? 1901‒02 \tsign.[ováno] (plátno, olej)\r\nje tu ještě mnoho materialismu\r\nfádní obraz přes jeho vitu dokonalost  \r\nNemá magické síly\r\nMagické světlo vítězí, ale ještě \r\nne úplně. Zde ještě realita obyčejná.\r\n<u>Barev dost</u>.\r\nVliv [el] <u>Grecův</u> už zde, ale zároveň\r\n[van] Goghův. \tKreslí štětcem.\r\n\tObraz barevný v pravo v rohu\r\nbarvy [el] <u>Grecovy</u>.\r\nNeplně vyvinutý modrý stil.","coordinates":{"x":2375,"y":365,"width":1795,"height":1345},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c9764f6848abf43ffbb3e026b0ad5678c","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s12d55d5c68c7497fbaa87a5f50ae5dd7","sectionNum":"8","translation":"<u>1903</u> (dat.[ed] \t(wood, oil) \r\nfully developed blue style. \r\nMore bony forms. \tMagical\r\nsoft lighting. \t\tForms sculptural \r\nAmong best of blue p.[eriod] \t<u>Space</u>.","transcription":"<u>1903</u> (dat.[ováno] \t\t(dřevo, olej)\r\nplně vyvinutý stil modrý.\r\nVíce kostnaté tvary. \tMagické\r\nosvětlení lehké. \tTvary plasticky\r\nZ nejlepších modré p.[eriody] \t<u>Prostor</u>.","coordinates":{"x":2360,"y":1700,"width":1740,"height":625},"relatedArt":[{"footNum":"1","copy":"<em>The Tragedy, </em> 1903. Oil on wood, 41 1/2 x 27 1/4 in. (105.3 x 69 cm). National Gallery of Art, Washington, D.C., Chester Dale Collection. Illustrated in <em>Ausstellung Pablo Picasso, </em> exh. cat. (Munich: Moderne Galerie Heinrich Thannhauser, 1913), no. 8","image":"footnotes/Lauder_8.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c12d55d5c68c7497fbaa87a5f50ae5dd7","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s1b3791483889481f99b5db3f2941f21a","sectionNum":"19","translation":"1903 (dat.[ed]) \t(canvas, oil) \r\nHere vessels now [El] <u>Greco-Picasso</u>\r\n(in 6 sulfa as in [Van] Gogh) <u>Luster</u>\r\nof glass. \r\nEverything blue, face shines a bit\r\nsalmon pink (unusually great deal of life)\r\nand in background crimson curtain. \r\n\t<u>Kräftig</u><sup>2</sup>  painted\r\nHuddled figures","transcription":"1903 (dat.[ováno]) \t\t(plátno, olej)\r\nZde nádoby už [el] <u>Grecovsko-Picasso</u>\r\n(v 6 sirník jako od [van] Gogha) <u>Lesk</u>\t\r\nskla.\r\nVše modré, obličej svítí trochu\r\nlachsrosa (nezvykle mnoho života)\r\na v pozadí závěs purpurový.\r\n\t<u>Kräftig</u> malováno\r\nSchoulené postavy","coordinates":{"x":2360,"y":2325,"width":1755,"height":1020},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>German.</u> Full-blooded, vigorous, or substantial."}],"colorNotes":{"id":"c1b3791483889481f99b5db3f2941f21a","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":32,"left":{"side":"verso","title":"31 verso","sections":[{"sectionId":"s0e6dce64f77546d7ae1b1595a9821365","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c0e6dce64f77546d7ae1b1595a9821365","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"32 recto","sections":[{"sectionId":"s9c3beb3e0c844d0a89110affab8f8024","sectionNum":"7","translation":"{e.[nd]} 1902 {more likely <u>1903</u>} sig.[ned] (dat.[ed] <del>190</del> pasted on) (pasteboard oil?)\r\nhere now fully detailed \r\nWonderfully conceived. Sits, head a bit\r\nupright, mouth opened, as if\r\nspeaking bitterness. \t\tHands resting\r\non knees side by side. \r\n\tMagical yellowish lighting in\r\nblue space \r\nFingers sticklike","transcription":"{kon.[ec]} 1902 {spíše <u>1903</u>} sig.[nováno] (dat.[ováno] <del>190</del> přilepeno) (lepenka olej?)\r\nzde už prokreslen\r\nVýborně pojat. Sedí, hlavu trochu\r\nvzhůru, ústa pootevřená, jakby z nich\r\nvycházely hořkosti.\t\tRuce složeny\r\nna kolenou vedle sebe.\r\n\tMagické osvětlení žlutavé v \r\nmodré prostoře\r\nPrsty hůlkovité","coordinates":{"x":2325,"y":350,"width":1820,"height":970},"relatedArt":[{"footNum":"1","copy":"<em>The Blind Man, </em> 1903. Watercolor on paper mounted on canvas, 21 1/4 x 14 1/8 in. (53.9 x 35.8 cm). Fogg Museum, Harvard Art Museums, Cambridge, Mass., Bequest from the Collection of Maurice Wertheim, Class of 1906. ","image":"footnotes/Lauder_7.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c9c3beb3e0c844d0a89110affab8f8024","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}},{"sectionId":"s75d2eb611b96462ab3256bbe8da5ca5b","sectionNum":"10","translation":"1902 \t\t(or 1904?) \t\t(canvas, oil)\r\nMagical light models. into precise\r\nforms. \tYellowish complexion shines. \r\n\tWorker at his meal. \r\nAmid overall blue brownish jug\r\nand bread. \tHere now smoothly modeled\r\n\tStill life betrays study\r\nof 17th cent.[ury] \tSpaniards. Also early\r\nCézannes. \tTable sculptural, as form\r\nIn short, <u>form</u> here important.\r\nFingers still rubbery like 1901, but\r\nalso sticklike. \r\n\tNot a perfect picture. \r\nMuch coarseness.\r\nThough still life marvelously situated in <u>space</u>. \r\n\t<u>Beautiful forms</u>.","transcription":"1902 \t\t(či 1904?) \t\t(plátno, olej)\r\nSvětlo magické modeluje. v přesné\r\ntvary. \t\tŽlutavá pleť svítí.\r\n\tDělník při jídle.\r\nZ celku modrého džbánek hnědavý \r\na chléb. \tZde už hladce modelován\r\n\tZátiší prozrazuje studium\r\nŠpanělů 17. st.[oletí] \tZároveň časné\r\nCézanny. \tStůl plasticky, formovĕ\r\nKrátce <u>forma</u> zde důležitá.\t\r\nPrsty ještě gumovité co 1901, ale \r\ntéž hůlkovité.\r\n\tNení dokonalý obraz.\r\nMnohé hrubě.\r\nNež zátiší báječně v <u>prostoru</u>.\r\n\t<u>Krásné tvary</u>.","coordinates":{"x":2325,"y":1405,"width":1820,"height":1820},"relatedArt":[{"footNum":"2","copy":"<em>The Blind Man’s Meal,</em> 1903. Oil on canvas, 37 1/2 x 37 1/4 in. (95.3 x 94.6 cm). The Metropolitan Museum of Art, New York, Purchase, Mr. and Mrs. Ira Haupt Gift, 1950, 50.188. Identification: Pierre Daix and Georges Boudaille, <em>Picasso: The Blue and Rose Periods: A Catalogue Raisonné of the Paintings, 1900–1906</em> (Greenwich, Conn.: New York Graphic Society, 1967), no. IX.32","image":"footnotes/Lauder_10.jpg","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c75d2eb611b96462ab3256bbe8da5ca5b","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":33,"left":{"side":"verso","title":"32 verso","sections":[{"sectionId":"sb6c09f9a04874b108bf573643506c1fc","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cb6c09f9a04874b108bf573643506c1fc","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"33 recto","sections":[{"sectionId":"sbb950378621f4cbc834bb78dc46152c8","sectionNum":"20","translation":"1901 \t\t(canvas oil)\r\nexcellent piece\r\nhere too still literary disposition, but\r\nexpression through whole body gesture, which is\r\nat same time purely formal device.\r\n\tFigures shrunken with sorrow, huddled\r\nthat sculptural mass appeals to him, and\r\ntherefore he paints the funeral motif. \r\n\tSymbolism of color: everything cold,\r\nblue, white, green, some\r\nEnglish red. Dominant color blue.\r\n\tMost striking in white color\r\nof shroud is green face. But it stands out\r\nin picture. \r\nfaces just spots.\r\nreminds you of <u>Munch</u>, but\r\nPicasso is more artistic. of <u>Rembrandt</u>\r\nof [El] <u>Greco</u>\r\nTremendously rich composition \r\nMother kneels at right, at left woman\r\nwith child, Such different grief!\r\nBrokenness of mother and numbness of woman\r\n\tHere masterfully painted, firmly,\r\nexpansively.\r\nInfluence of older Cézannes, as well as [El] Greco.\r\n\tNudes purely [illegible]. Maestría<sup>2</sup> \r\nBeautiful mother with infant and boy\r\non right.","transcription":"1901 \t\t(plátno olej)\r\nvýborná věc\r\ni zde ještě literární založení, ale\r\nvýraz celým posunem těla, jenž je\r\nzároveň čistě tvárným prostředkem.\r\n\tPostavy smutkem sražené, schoulené\r\nta masa sochařská se mu líbí, a\r\nproto maluje motiv pohřeb.\r\n\tSymbolika barvy: vše studené,\r\nmodré, bílé, zelené, trochu \r\nenglisch roth. Hlavní barva modř.\r\n\tNejvíce nápadný v bílé barvě\r\nrubáše zelený obličej. Ale ten vyznívá\r\nv obrazu.\r\nobličeje jen fleky.\r\nvzpomínáte na <u>Muncha</u>, ale \r\nPicasso je výtvarnější. na <u>Rembrandta</u>\r\nna [el] <u>Greco</u>\r\nNesmírně bohatá kompozice\r\nMatka klečí v pravo, v levo žena\r\ns děckem, Jak různý bol!\r\nZlomenost matky a otupělost ženy\r\n\tTo už mistrně malováno, pevně,\r\nširoce.\r\nVliv starších Cézannů, a dále [el] Greco.\r\n\tAkty čistě [nečitelný]. Maestría\r\nKrásná je matka s nemluvnětem a hochem\r\nv pravo.","coordinates":{"x":2350,"y":380,"width":1790,"height":3010},"relatedArt":[{"footNum":"1","copy":"<em>The Mourners,</em> 1901. Oil on canvas, 39 x 35 1/8 in. (99.1 x 89.2 cm). Private collection.","image":"footnotes/Lauder_20.jpg","link":""}],"translatorNotes":[{"footNum":"2","note":"<u>Spanish.</u> Mastery."}],"colorNotes":{"id":"cbb950378621f4cbc834bb78dc46152c8","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}},{"uid":34,"left":{"side":"verso","title":"33 verso","sections":[{"sectionId":"sf739682972144783b3c4f59b05296da0","sectionNum":"0","translation":"\t\r\n\t\r\nStill heavy [Van] Gogh-like color\r\n\tbefore abandoning color variety. <u>Volume</u>\r\nspace\r\nRoundly baggy forms. \tFigures\r\nlike sacks. \r\n<u>Such human feeling</u>, such maturity\r\n<u>of man and artist</u>. \r\n<u>Hatched</u>. \t<u>Brush drawing</u>\r\n<u>tremendously fresh.</u> \r\nInfluence of [El] <u>Greco evident</u>. Combination\r\nof (pea) green with blue, \tthen\r\nred with dark red (with blue) shadows.\r\n\tGreen lights on blue, red\r\non dark red\r\n<u>Luster</u> of whites [El] Greco’s too\r\nand everything generally. \tLong figures.\r\n(unique to <u>Picasso</u> see <u>9</u>.)\r\neverything muffled (post-impressionism, Cézanne).\r\n<u>Light triumphs</u> eventually over\r\ncolor. \t\tColor burns within. \r\n<u>Begins with brilliant romantic color</u>\r\nand that leads him to [El] Greco and Cézanne.\r\n<u>Daumier</u> close in terms of volume.","transcription":"\t\r\n\t\r\nJeště těžká [van] Goghova barva\r\n\tuž opustil pestrost. <u>Volumen</u>\r\nprostor\r\nOblé pytlovité tvary. \tPostavy\r\njako žoky.\r\n<u>Jaké lidské cítění</u>, jaká zralost\r\n<u>člověka i umělce</u>.\r\n<u>Štrafírované</u>. \t\t<u>Štětcem kreslí</u>\r\n<u>nesmírně svěže</u>.\r\nVliv [el] <u>Grecův zřejmý</u>. Kombinace\r\nzeleně (hrachové) s modří, \tpak\r\nčerveň s tmavě rudými (s modří) stíny.\r\n\tZelená světla na modré, červená \r\nna temně rudé\r\n[el] Grecův je také <u>lesk</u> bílé\r\na vůbec. \tDlouhé postavy.\r\n(<u>Picassovi</u> je vlastní viz <u>9</u>.)\r\nvše ztlumené (poimpressionismus, Cézanne).\r\n<u>Světlo vítězí</u> časem nad\r\nbarvou. \tBarva hoří uvnitř.\r\n<u>Začíná skvělou romantickou barvou</u>\r\na ta vede jej ku [el] Grecovi a Cézanna. \r\n<u>Daumier</u> blízký co volumen.\r\n","coordinates":{"x":475,"y":390,"width":1765,"height":2980},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"cf739682972144783b3c4f59b05296da0","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]},"right":{"side":"recto","title":"34 recto","sections":[{"sectionId":"s82b82439b81848648cc8d348a6ab8071","sectionNum":"0","translation":"","transcription":"","coordinates":{"x":0,"y":0,"width":0,"height":0},"relatedArt":[{"footNum":"","copy":"","image":"","link":""}],"translatorNotes":[{"footNum":"","note":""}],"colorNotes":{"id":"c82b82439b81848648cc8d348a6ab8071","coordinates":{"x":0,"y":0,"width":0,"height":0},"transcriptionNotes":{"image":"","alt":""},"translationNotes":{"image":"","alt":""}}}]}}]}},"pageContext":{"uid":2}}