Set design for the ballet Le Tricorne

Set design for the ballet Le Tricorne by Pablo Picasso is a seminal example of the artist's engagement with theatrical production in the early 1920s. This piece is part of a portfolio classified as an Illustrated Book, created using the sophisticated printmaking techniques of collotype and pochoir. Specifically, this impression originates from a comprehensive portfolio of thirty-two collotypes, thirty-one of which included meticulous hand-coloring via the pochoir (stencil) process. The vibrancy and precise detailing achievable through these methods allowed Picasso to translate his complex, modernist vision for the stage into a highly collectible print format.

The production of Le Tricorne (also known as The Three-Cornered Hat) premiered in 1919 and marked a significant moment in the collaboration between the Spanish master, the Ballets Russes impresario Serge Diaghilev, and composer Manuel de Falla. This particular print iteration, dating to 1920, captures the distinct Cubist-inflected style Picasso developed for stage scenery and costumes. The ballet's theme drew heavily on traditional Spanish folklore, allowing Picasso to fuse his modern aesthetic with profound cultural roots. His set designs often reflected monumental forms and precise geometric structuring, providing a dramatic backdrop that contrasted sharply with the fluid motion of the dancers.

As a leading figure of the early 20th century avant-garde, Picasso’s deep involvement with the performing arts significantly broadened the scope of modern design. This specific piece, produced in 1920, offers essential insight into the period when the artist effortlessly moved between painting, sculpture, and applied arts. The nature of these prints, classified as an Illustrated Book, highlights the importance of reproducibility in disseminating the avant-garde aesthetic. This important Spanish contribution to modern printmaking is carefully held in the collection of the Museum of Modern Art (MoMA).