Toward Where We See (Vers où l’on voit)

Artist Pablo Picasso (Spanish (active France), 1881-1973)

Publisher PAB [Pierre André Benoit], Alès, 1960

Author P. A. (Pierre André) Benoit (French, 1924-1993)

Date1960

DimensionsBook: H: 9 1/4 in. (235 mm); W: 7 5/16 in. (185 mm); Depth: 1/8 in. (3 mm).
Page (untrimmed): H: 9 in. (228 mm); Depth: 6 3/4 in. (171 mm).
Image: H: 5 13/16 in. (148 mm); W: 3 15/16 in. (100 mm).

MediumOriginal print: celluloid drypoint. Text: letterpress (typeface: Garamond). Paper: off-white Gourbeyre Auvergne laid (watermark: GOURBEYRE).

ClassificationBooks

Credit LineGift of Molly and Walter Bareiss in honor of Barbara K. Sutherland

Object number

1984.929

Not on View

Label TextPicasso's engraving, dated March 31, 1960, is a portrait of his companion Jacqueline Rogue. Her face is formed by two profiles: one masculine, one feminine. Benoit's poem explores the enigmatic aspects of the portrait, and her hidden and revealed self: "This hidden part of me/this part/turned toward where one sees/...the part which resembles/that which attracts it..." Publisher: Pierre André Benoit Joan Miró, Le visage s'invente (The Face Invents Itself). Text by Benoit (1957) Georges Braque, Passionné (Passionate). Text by Édith Boissonnas (1958) Marcel Duchamp, L’équilibre (Equilibrium). Text by Francis Picabia (1958) Marcel Duchamp, Tiré à 4 épingles (Printed with 4 Pins). Text by Pierre de Massot (1959) Pablo Picasso, Meurs (Die). Text by Benoit (1960) Pablo Picasso, Température (Temperature). Text by Jacqueline Roque (1960) Pablo Picasso, Toute la vie (All of Life). Text by Benoit (1960) Jean Dubuffet, Oreilles gardées (Guarded Ears). Text by Benoit (1962) Pierre André Benoit (who published under his initials PAB) was fond of printing very small books. He would solicit artwork from his friends, sending them several sheets of celluloid on which they could scratch a drypoint engraving. He printed the engravings himself and sometimes wrote his own poem or text to accompany the print. He published 15 tiny books with art by Picasso, 3 with Duchamp, and 4 with his friend Dubuffet. Many other artists and writers were tapped for this personal obsession. Unlike other publishers, who spent years on a single publication, Benoit would send a finished book to an artist only a few weeks after receiving an image. Editions were no more than 30 or 40 copies. One of Benoit’s most substantial publications was his first collaboration with Jean Dubuffet. Dubuffet suggested his own design for the book, but was happy to defer to Benoit. Oreilles gardées was printed on a simply wove paper in a larger format than Benoit usually preferred. The drawings for the book were mechanically reproduced and the text was set out by Benoit himself with the use of rubber letters given to him by Dubuffet.Published Referencescf. Goeppert, Sebastian, et al., Pablo Picasso: The Illustrated Books, Catalogue raisonné, Geneva, 1983, no. 103.Exhibition HistoryToledo Museum of Art, Picasso as an Illustrator, Jan. 23-May 29, 1988, no. 51.