Mademoiselle Léonie (plate, folio 10) from Saint Matorel

Mademoiselle Léonie (plate, folio 10) from Saint Matorel by Pablo Picasso is a foundational example of early twentieth-century Spanish printmaking, created in 1910 and published the following year in 1911. This etching originated as a component of an illustrated book, titled Saint Matorel, which featured a total of four etched plates, one incorporating the textured depth provided by drypoint. The exacting nature of the etching process allowed the artist to explore the emerging visual language of Analytical Cubism within the demanding medium of the print, marking a significant early foray into the livre d'artiste genre.

The original folio 10 displays the figure of Mademoiselle Léonie, rendered with severe geometric simplification. This plate exemplifies the stylistic transformation occurring in Picasso’s work around 1910, characterized by fragmented planes and overlapping, linear structures typical of high Analytical Cubism. While the artist’s concurrent painting output often employed muted color palettes, these crucial early prints rely solely on line, crosshatching, and subtle shading to define both volume and spatial relationships. Picasso’s application of the etching needle required precision and commitment, demonstrating the artist’s dedication to abstraction and the thorough analysis of form. This particular Spanish work is highly regarded by art historians as it belongs to a critical period defined by the revolutionary reinterpretation of visual perspective.

As one of the earliest collaborations between Picasso and writer Max Jacob, Saint Matorel proved a pivotal moment in the history of modern illustrated books. Although the work was produced in a limited edition, high-quality images and related prints often circulate today, making such significant modernist compositions accessible through specialized collections and, increasingly, via public domain initiatives. This pivotal piece is permanently housed in the collection of the Museum of Modern Art, recognizing its importance as both a milestone in Picasso’s development and as an indispensable object within the history of illustration and prints from the 1910 period.