{"product_id":"picasso-pablo-claude-roy-la-guerre-et-la-paix","title":"PICASSO, Pablo; Claude ROY. La Guerre et la Paix.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003ePicasso’s \u003ci\u003eWar and Peace\u003ci\u003e\u003c\/i\u003e\u003c\/i\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003ePICASSO, Pablo; Claude ROY.\u003c\/strong\u003e La Guerre et la Paix. \u003ci\u003eParis: Editions Cercle D’Art.\u003c\/i\u003e 1954.\u003c\/p\u003e\n\u003cp\u003eFolio. Publisher’s oatmeal cloth, with orange belly-band printed in black and white, no dust-jacket (as issued), spine and upper board lettered in burgundy; pp. ‘153’ (\u003ci\u003ei.e.\u003c\/i\u003e 151), [1], [2 (colophon, blank)], with the two large folding plates in pocket to rear board; slightly shaken; else a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst trade edition, one of 6000 copies, of this monumental work on Picasso’s enormous two-panel \u003ci\u003eLa Guerre et la paix\u003c\/i\u003e (\u003ci\u003eWar and Peace\u003c\/i\u003e) – even larger than \u003ci\u003eGuernica\u003c\/i\u003e – for the deconsecrated Romanesque chapel of the the Château de Vallauris, published five years before the chapel was officially opened to the public and instrumental in publicising the work.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThere were also one hundred copies of the \u003ci\u003eédition de tête\u003c\/i\u003e with an original lithograph by Picasso. To accommodate the vaulted ceilings of the deserted chapel – which Picasso aimed to turn into a ‘temple of peace’ –  he structured the panels on thirty-two pieces of hardboard. He made over two hundred and eighty preparatory drawings, several of which are reproduced here. Between 1952 and 1959, the installation ‘remained largely unknown. Claude Roy’s book on \u003ci\u003eLa Guerre et la paix\u003c\/i\u003e [...] brought these large panels to wider attention before the chapel’s public opening’ (Forest, \u003ci\u003etrans\u003c\/i\u003e.).\u003c\/p\u003e\n\u003cp\u003eJean Cocteau, who saw the work being created in Picasso’s studio at Fournas – along with, amongst others, Françoise Gilot and Claude Roy, author of the present work – wrote that ‘the first impression [of \u003ci\u003eLa Guerre et la paix\u003c\/i\u003e] is that of a nave, a church; it seems that everyone who enters [the studio] takes off their hat. I take off my hat’ (\u003ci\u003eibid\u003c\/i\u003e.). Picasso left the drips of paint as they were, arguing that ‘one doesn’t advise an unhappy person to wipe away their tears’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGoeppert 67. See Forest, ‘Picasso, la guerre et la paix’, in Michel and Vandenbussche eds, L’idée de paix en France et ses représentations au xxe siècle (2018), pp. 349–54.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124890\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57400448516473,"sku":"2124890","price":900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124890g.jpg?v=1780915200","url":"https:\/\/sotherans.co.uk\/products\/picasso-pablo-claude-roy-la-guerre-et-la-paix","provider":"Sotherans","version":"1.0","type":"link"}