{"data":{"id":5357,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/5357","is_boosted":true,"title":"The Red Armchair","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAABdZMShaPl1FPV5LOWxLO3peNitdQjVsR0NES3dQaYNFWZ5kRYNZecahWu\/rcYlVg5xarI5dtqu1jcbIlQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURoDNFUCMxTxEQymAIyXIASAgAOw==","width":22735,"height":30010,"alt_text":"Cubist painting of woman, bright yellow, green, purple colors."},"main_reference_number":"1957.72","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1931,"date_end":1931,"date_display":"December 16, 1931","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Pablo Picasso\nSpanish, active France, 1881\u20131973","place_of_origin":"Spain","description":"<p>In December 1931 Pablo Picasso began a series of paintings of Marie-Th\u00e9r\u00e8se Walter, a French model with whom he was romantically involved while married to his first wife, Olga Khokhlova. Perhaps acknowledging their double life, Picasso invented a new motif\u2013a face encompassing both frontal and profile views. A constant innovator, Picasso experimented with materials as well as with form and style. <em>The Red Armchair<\/em> demonstrates the artist's inventive use of Ripolin, an industrial house paint. Mixing it with oil paint he produced various surfaces, from the rough, yellow background to the almost brushless finish of the black lines.<\/p>\n","short_description":null,"dimensions":"131.1 \u00d7 98.7 cm (51 5\/8 \u00d7 38 7\/8 in.)","dimensions_detail":[{"depth":null,"width":98,"height":131,"diameter":null,"clarification":null}],"medium_display":"Oil and Ripolin on panel","inscriptions":"Signed, u.r.: \"Picasso\"","credit_line":"Gift of Mr. and Mrs. Daniel Saidenberg","catalogue_display":null,"publication_history":"Galeries Georges Petit, Picasso, exh. cat. (Paris: Galeries Georges Petit, 1932), p. 65, cat. 199.\n\nCahiers d\u2019Art 3\u20135 (June 1932), n.p. (ill.).\n\nKunsthaus Zurich, Picasso, exh. cat. (Zurich: Kunsthaus Zurich, 1932), p. 15, cat. 203.\n\nHans Heilmaier, \u201cEin Meister Heutiger Malerie, zur grossen Picasso-Austellung in Paris,\u201d Deutsche Kunst und Dekoration 70 (April\u2013September 1932), p. 360 (ill.), as Frau im Roten Sessel.\n\nChristian Zervos, Pablo Picasso VII (Paris: Cahiers d\u2019Art, 1951), p. 139, no. 334 (ill.), as Femme Dans un Fauteuil.\n\nLionello Venturi, Mostra di Pablo Picasso (Rome: Galeria Nazionale d'Arte Moderna, 1953), p. 36, cat. 21 (ill.).\n\nPalazzo Reale, Pablo Picasso, exh. cat. (Milan: Edizioni d\u2019arte Amilcare Pizzi, 1953), p. 51, cat. 59 (ill.).\n\nMaurice Raynal, Picasso, The Taste of Our Time Series, trans. by James Emmons (Geneva: Skira, 1953), p. 92 (ill.).\n\nMus\u00e9e des arts Decoratifs, Picasso: Peintures 1900-1955, exh. cat. (Paris: Mus\u00e9e des arts Decoratifs, 1955), cat. 76 (ill.).\n\nHaus der Kunst, Picasso 1900-1955, exh. cat. (Munich: Haus der Kunst, 1955), cat. 65 (ill.). \n\nAlexander Watt, \u201cThe Problem of Picasso,\u201d Studio 150:752 (Nov. 1955), pp. 144, 146 (ill).\n\nJos\u00e9 Cam\u00f3n Aznar, Picasso y el Cubismo (Madrid: Espasa-Calpe, 1956), p. 499, fig. 370, as Mujeres.\n\nFrank Elgar and Robert Maillard, Picasso (Paris: Fernand Hazan, 1955), n.p. (ill.).\n\nThe Art Institute of Chicago Quarterly 51:4 (1957), p. 83, cover (ill.).\n\nJean Cassou, Panorama des Arts Plastiques Contemporains (Paris: Librairie Gallimard, 1960), fig. 26.\n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1961), pp. 358 and 436 (ill.).\n\nBrassa\u00ef, Conversations avec Picasso (Paris: Gallimard, 1964; London: Thames and Hudson, 1966), p. 18.\n\nAndr\u00e9 Breton, Le Surr\u00e9alisme et la Peinture (Paris: Gallimard, 1965), p. 115 (ill.).\n\nPierre Cabanne, \u201cPicasso,\u201d La Galerie des arts 34 (May 1966), p. 25 (ill.).\n\nA. James Speyer, \u201cTwentieth-Century European Paintings and Sculpture,\u201d Apollo 84 (Sept. 1966), p. 225.\n\nThe Art Institute of Chicago, Picasso in Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 1968), p. 35, cat. 35 (ill.). \n\nHoward Greenfield, Pablo Picasso: An Introduction (Chicago: Follett Publishing Company, 1971), pp. 116\u2013117 (ill.).\n\nYusuke Nakahara, Picasso and Matisse, Grand Collection of World Art 23 (Tokyo: Kodansha, 1974), pl. 18.\n\nWilliam Rubin, Pablo Picasso: A Retrospective, exh. cat. (New York: Museum of Modern Art, 1980), p. 288 (ill.).\n\nLinda Nochlin, \u201cPicasso\u2019s Color: Schemes and Gambits,\u201d Art in America 68:10 (Dec. 1980), pp. 120, 179, and 183, fig. 19.\n\nA. James Speyer and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 64, no. 3D9.\n\nAlice Doumanian Tankard, Picasso\u2019s \u201cGuernica\u201d after Rubens\u2019s \u201cHorrors of War\u201d (Philadelphia: The Art Alliance Press, 1984), p. 58, pl. 27.\n\nHerschel B. Chipp, Picasso\u2019s Guernica (Berkeley, Cal.: University of California Press, 1988), pp. 122\u2013123, fig. 7.22, as The Red Chair.\n\nPicasso (France: ODA Laser Edition, 1992), p. 63, no. 28728, as Woman in an Armchair.\n\nCarsten-Peter Warncke, Pablo Picasso 1881\u20131973 I (Cologne: Benedikt Taschen, 1992), p. 348 (ill.), as Femme Assise Dans un Fauteuil Rouge.\n\nPeter Gray, Psychology, second edition (New York: Worth, 1994), pp. xi and 160 (ill.).\n\nJudi Freeman, Picasso and the \u201cWeeping Women,\u201d exh. cat. (Los Angeles: Los Angeles County Museum of Art, 1994), pp. 154\u20131544, fig. 116.\n\nWilliam Rubin, Picasso and Portraiture: Representation and Transformation, exh. cat. (New York: Museum of Modern Art, 1996), pp. 342\u2013344, and 346 (ill).\n\nChristie\u2019s, New York, Impressionist and Modern Paintings, Drawings, and Sculptures (Part I) (May 14, 1997), p. 147, fig. 7.\n\nChristie\u2019s, New York, The Collection of Victor and Sally Ganz (Nov. 10, 1997), p. 165, fig. 8.\n\nThe Picasso Project, Picasso\u2019s Paintings, Watercolors, Drawings, and Sculpture: A Comprehensive Illustrated Catalogue 1885\u20131973, Surrealism 1930\u20131936 (San Francisco: Alan Wofsy Fine Arts, 1997), p. 74, no. 31\u2013082 (ill.).\n\nPablo Picasso: The Time with Fran\u00e7oise Gilot, exh. cat. (Bielefelt: Kerber Verlag, 2002), pp. 32\u201333, fig. 5.\n\nLa epoca de Picasso: donaciones a los museos americanos (Santander: Fundaci\u00f3n Marcelino Bot\u00edn, 2004), pp. 43 and 247.\n\nEnrique Mallen, The On-Line Picasso Project (http:\/\/www.tamu.edu\/mocl\/picasso\/), no. 31:04 (ill).","exhibition_history":"Paris, Galeries Georges Petit, Picasso, June 16\u2013July 30, 1932, p. 65, cat. 199, as La Femme au Fauteuil Rouge.\n\nZurich, Kunsthaus, Picasso, September 11\u2013October 30, 1932, p. 15, cat. 203, as Frau in Rotem Lehnstuhl.\n\nRome, Galeria Nazionale d'Arte Moderna, Mostra di Pablo Picasso, May\u2013July 5, 1953, p. 36, cat. 21 (ill.).\n\nMilan, Palazzo Reale, Pablo Picasso, September\u2013November 1953, p. 51, cat. 59 (ill.).\n\nParis, Mus\u00e9e des arts Decoratifs, Picasso: Peintures 1900-1955, June\u2013October 1955, cat. 76 (ill.).\n\nMunich, Haus der Kunst, Picasso 1900-1955, October 25\u2013December 18, 1955, cat. 65 (ill.); traveled to Cologne, Rheinisches Museum, December 30, 1955\u2013February 29, 1956 and Hamburg, Kunstverein, Kunsthalle-Artbau, March 10\u2013April 26, 1956.\n\nThe Art Institute of Chicago, Picasso in Chicago, February 3\u2013March 31, 1968, pp. 35 amd 114, cat. 35 (ill.). \n\nNew York, Museum of Modern Art, Pablo Picasso: A Retrospective, May 22\u2013September 16, 1980, p. 288 (ill.).\n\nLos Angeles County Museum of Art, Picasso and the 'Weeping Women,' February 13\u2013May 1, 1994, pp. 154\u2013155, fig. 116; traveled to New York, Metropolitan Museum of Art, June 12\u2013September 4, 1994, and The Art Institute of Chicago, October 8, 1994\u2013January 8, 1995.","provenance_text":"The artist; Galerie Louise Leiris, Paris, 1955 [letter from Eleanore Saidenberg, Oct. 10, 1975; copy in curatorial file]; sold to Saidenberg Gallery, July 25, 1956 [Invoice, July 25, 1956; copy in curatorial file]; given to the Art Institute, 1957.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":246,"fiscal_year":1957,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 2018 Estate of Pablo Picasso \/ Artists Rights Society (ARS), New York","has_multimedia_resources":true,"has_educational_resources":true,"has_advanced_imaging":false,"colorfulness":75.2924,"color":{"h":38,"l":54,"s":62,"percentage":0.0695528986063818,"population":652},"latitude":41.8804911420233,"longitude":-87.6214180514215,"latlon":"41.880491142023,-87.621418051422","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 394","gallery_id":23992,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Modern Art","department_id":"PC-11","artist_id":36198,"artist_title":"Pablo Picasso","alt_artist_ids":[],"artist_ids":[36198],"artist_titles":["Pablo Picasso"],"category_ids":["PC-11","PC-831","PC-839"],"category_titles":["Modern Art","Essentials","Save Ferris"],"term_titles":["painting","oil paint (paint)","painting (image making)","Cubism","women","panel (wood)","enamel paint","purple (color)","green (color)","red (color)","brown (color)","yellow (color)","armchairs","Modern Art Highlights"],"style_id":"TM-7539","style_title":"Cubism","alt_style_ids":[],"style_ids":["TM-7539"],"style_titles":["Cubism"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-14404"],"classification_ids":["TM-9","TM-14404"],"classification_titles":["painting","Modern Art Highlights"],"subject_id":"TM-8735","alt_subject_ids":["TM-11850","TM-11849","TM-11851","TM-11844","TM-11842","TM-12293"],"subject_ids":["TM-8735","TM-11850","TM-11849","TM-11851","TM-11844","TM-11842","TM-12293"],"subject_titles":["women","purple (color)","green (color)","red (color)","brown (color)","yellow (color)","armchairs"],"material_id":"TM-2451","alt_material_ids":["TM-3644","TM-3338"],"material_ids":["TM-2451","TM-3644","TM-3338"],"material_titles":["oil paint (paint)","panel (wood)","enamel paint"],"technique_id":"TM-3891","alt_technique_ids":[],"technique_ids":["TM-3891"],"technique_titles":["painting (image making)"],"theme_titles":["Essentials","Save Ferris"],"image_id":"c617e2f0-d5fe-0772-390e-6d8c83895815","alt_image_ids":[],"document_ids":["92a80080-7a67-c6aa-5fd8-1a294240f49c","df766a6e-f89a-460d-a3fc-97e9705fe989"],"sound_ids":["325ebf73-05b4-b925-b2c5-80178feee00e","df766a6e-f89a-460d-a3fc-97e9705fe989"],"video_ids":[],"text_ids":["92a80080-7a67-c6aa-5fd8-1a294240f49c"],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"The Red Armchair","suggest_autocomplete_all":[{"input":["1957.72"],"contexts":{"groupings":["accession"]}},{"input":["The Red Armchair"],"weight":55773,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-14T15:41:08-05:00","updated_at":"2026-09-02T15:21:54-05:00","timestamp":"2026-09-07T05:05:26-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. 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