- Artwork printed by EPSON Stylus Pro 7880 (Epson Ultra Chrome K3 Vivid Magenta) on canvas.
- Limited edition prints of 100.
- Each limited edition artwork will be individually printed, signed, dated and numbered by the artist Vladimir Zunuzin.
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History of the Three Musicians by Pablo Picasso
"Three Musicians", 1921
Museum of Modern Art, New York
Three Musicians is a large painting measuring more than 2 meters wide and high. It is painted in the style of Synthetic Cubism and gives the appearance of cut paper.
Picasso paints three musicians made of flat, brightly colored, abstract shapes in a shallow, boxlike room. On the left is a clarinet player, in the middle a guitar player, and on the right a singer holding sheets of music. They are dressed as familiar figures: Pierrot, wearing a blue and white suit; Harlequinn, in an orange and yellow diamond-pattered custome; and, at right, a friar in a black robe. In front of Pierrot stands a table with a pipe and other objects, while beneath him is a dog, whose belly, legs, and tail peep out behind the musician's legs. Like the boxy brown stage on which the three musicians perform, everything in this painting is made up of flat shapes. Behind each musician, the light brown floor is in a different place, extending much farther toward the left than the right. Framing the picture, the floor and the flat walls make the room lopsided, but the musicians seem steady. Music Makers in Harmony; It is hard to tell where one musician starts and another stops, because the shapes that create them intersect and overlap, as if they were paper cutouts. Pierrot, the figure in blue and white, holds a clarinet in his hands; one hand is connected to a long, thin, black arm, while the other hand lacks an arm. Three Musicians emphasizes lively colors, angular shapes, and flat patterns. Picasso said he was delighted when "Gertrude Stein joyfully announced... that she had at last understood what... the three musicians was meant to be. It was a still life!"
To many art historian, Three Musicians may be seen as Picasso's belatd reply to The Piano Lesson, the huge music-making scene Henri Matisse painted in the summer of 1916. Picasso's desire to win back the initiative from Matisse in the exploitation of the decorative potential of the synthetic Cubist style emerges in this painting in the boldest possible manner. Via