French Sculpture Census

crédits photo :
© artiste : Fair Use (Section 107, Copyright Act, 1976)

Malaga, Espagne 1881 - Paris 1973

Crâne de chèvre et bouteille
Goat Skull and Bottle

1951 Vallauris, fonte de 1954
bronze peint

78,8 x 95,3 x 54,5

N° d'inv. : 272.1956
Credit Line : Mrs. Simon Guggenheim Fund

New York, New York, The Museum of Modern Art


  • 1956, acquis grâce au fonds Mrs. Simon Guggenheim


  • Museum's website, April 11, 2013
  • 1957 Barr
    Picasso: 75th Anniversary Exhibition. Edited by Alfred H. Barr, Jr., 1957, repr. p. 103
  • 1967 NY MoMA Barr
    Alfred H. Barr, Painting and Sculpture in The Museum of Modern Art, 1929-1967, New York, 1967, ill. 87
  • 1967 Penrose
    Roland Penrose, The Sculpture of Picasso, 1967, repr. p. 132
  • 1972 Rubin
    William Rubin, Picasso in the Collection of The Museum of Modern Art, 1972, repr. p. 177
  • 1977 NY MoMA Legg
    Painting and Sculpture in The Museum of Modern Art, with Selected Works on Paper. Catalogue of the Collection, January 1, 1977, Edited by Alicia Legg, New York, The Museum of Modern Art, 1977, p. 77


MoMA's website, April 11, 2013:
Focus: Picasso Sculpture
July 3–November 3, 2008
Goat Skull and Bottle is painted in shades of gray that match the somber palette of some of Picasso’s paintings in the years during and just after World War II and perhaps allude to the black-and-white photography that brought images of the war home. The candle depicted here serves as a memento mori, a reminder of mortality. The sculpture was created from a host of found materials unified by their casting in bronze. Picasso used the handlebars of a bicycle to represent the goat’s horns, and the heads of large bolts form its eyes. The goat's head is covered in a layer of corrugated cardboard that implies the direction of its hair. Nails are used for the tufts between its ears and for the rays of light emanating from the candle nestled in the bottle. In this and other of Picasso’s sculptures, found elements never fully give up their original identities even as they serve as parts of a sculptural whole.