The preliminary studies on the third sheet dated July 29, 1947 (Fig.7), reworked with a wash to partially erase the two woman-vases initially associated with the large female figure dominating the central axis in the sheet, show four sketches of hybrid figurations, part fauness and part siren, whose body is represented by a vase set on its side on a base. The presence of half-moon horns and breasts in three of these drawings suggests that it is actually a fauness, while the sketched wings in the two lower renditions clearly portray a siren. The four sketched figures have a circular handle typical of a botijo, and are, like these traditional vessels, set on a foot.
Much like the Bull at the Musée d’Antibes, and following the sketch from the third sheet dated July 29, 1947, the ceramic Fauness of 1947-48 is made up of several thrown, vase-shaped clay elements that have been recut and assembled, with a ring attached to the animal’s back (Figs. 7-8). A half-vase with its mouth facing downwards forms the base; the body is made up of two vases whose necks have been cut off and stuck together. The neck consists of a conical piece placed under a sphere that represents the head, which is crowned by a small, horn-like curve that has been modeled echoing the circular shape of the ring. The Fauness stands on a quadrangular white base decorated with black enamel that reinforces the sculptural character of the piece as a whole.
Chinese ink. Private collection.
© Succession Picasso 2020.
White earth, oxide decoration on white background, patina, wax reserve, partial transparent glaze.
Private collection.
© Succession Picasso 2020.
Chinese ink. Private collection.
© Succession Picasso 2020.
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Summary