Pablo Picasso

Pablo Picasso (/pɪˈkɑːsoʊ, -ˈkæsoʊ/;[2]

Spanish: [ˈpaβlo piˈkaso]; 25 October 1881
– 8 April 1973) was a Spanish painter,
sculptor, printmaker, ceramicist, stage
designer, poet and playwright who spent
most of his adult life in France. Regarded
as one of the most influential artists of the
20th century, he is known for co-founding
the Cubist movement, the invention of
constructed sculpture,[3][4] the co-invention
of collage, and for the wide variety of
styles that he helped develop and explore.
Among his most famous works are the
proto-Cubist Les Demoiselles d'Avignon
(1907), and Guernica (1937), a dramatic
portrayal of the bombing of Guernica by
the German and Italian airforces.
 Pablo Picasso

Picasso in 1908

Born Pablo Diego José Francisco de

Paula Juan Nepomuceno María de
los Remedios Cipriano de la
Santísima Trinidad Ruiz y
Picasso[1]
25 October 1881
Málaga, Spain

Died 8 April 1973 (aged 91)

Mougins, France
Resting Château of Vauvenargues
place 43.554142°N 5.604438°E

Nationality Spanish

Education José Ruiz y Blasco (father)

Real Academia de Bellas Artes de
San Fernando

Known for Painting, drawing, sculpture,

printmaking, ceramics, stage
design, writing

Notable work La Vie (1903)

Family of Saltimbanques (1905)
Les Demoiselles d'Avignon (1907)
Portrait of Daniel-Henry Kahnweiler
(1910)
Girl before a Mirror (1932)
Le Rêve (1932)
Guernica (1937)
The Weeping Woman (1937)
Movement Cubism, Surrealism

Spouse(s) Olga Khokhlova

(m. 1918; d. 1955)
Jacqueline Roque
(m. 1961)

Picasso demonstrated extraordinary

artistic talent in his early years, painting in
a naturalistic manner through his
childhood and adolescence. During the
first decade of the 20th century, his style
changed as he experimented with different
theories, techniques, and ideas. After
1906, the Fauvist work of the slightly older
artist Henri Matisse motivated Picasso to
explore more radical styles, beginning a
fruitful rivalry between the two artists, who
subsequently were often paired by critics
as the leaders of modern art.[5][6][7][8]

Picasso's work is often categorized into

periods. While the names of many of his
later periods are debated, the most
commonly accepted periods in his work
are the Blue Period (1901–1904), the Rose
Period (1904–1906), the African-
influenced Period (1907–1909), Analytic
Cubism (1909–1912), and Synthetic
Cubism (1912–1919), also referred to as
the Crystal period. Much of Picasso's work
of the late 1910s and early 1920s is in a
neoclassical style, and his work in the mid-
1920s often has characteristics of
Surrealism. His later work often combines
elements of his earlier styles.

Exceptionally prolific throughout the

course of his long life, Picasso achieved
universal renown and immense fortune for
his revolutionary artistic
accomplishments, and became one of the
best-known figures in 20th-century art.

Early life
Pablo Picasso with his sister Lola, 1889

Picasso was baptized Pablo Diego José

Francisco de Paula Juan Nepomuceno
María de los Remedios Cipriano de la
Santísima Trinidad Ruiz y Picasso,[1] a
series of names honouring various saints
and relatives.[9] Ruiz y Picasso were
included for his father and mother,
respectively, as per Spanish law. Born in
the city of Málaga in the Andalusian region
of Spain, he was the first child of Don José
Ruiz y Blasco (1838–1913) and María
Picasso y López.[10] His mother was of one
quarter Italian descent, from the territory
of Genoa.[11] Though baptized a Catholic,
Picasso would later on become an
atheist.[12] Picasso's family was of middle-
class background. His father was a painter
who specialized in naturalistic depictions
of birds and other game. For most of his
life Ruiz was a professor of art at the
School of Crafts and a curator of a local
museum. Ruiz's ancestors were minor
aristocrats.
Picasso showed a passion and a skill for
drawing from an early age. According to
his mother, his first words were "piz, piz", a
shortening of lápiz, the Spanish word for
"pencil".[13] From the age of seven, Picasso
received formal artistic training from his
father in figure drawing and oil painting.
Ruiz was a traditional academic artist and
instructor, who believed that proper
training required disciplined copying of the
masters, and drawing the human body
from plaster casts and live models. His
son became preoccupied with art to the
detriment of his classwork.
Pablo Picasso, 1901, Old Woman (Woman with
Gloves), oil on cardboard, 67 × 52.1 cm, Philadelphia
Museum of Art

Pablo Picasso, 1901-02, Femme au café (Absinthe

Drinker), oil on canvas, 73 × 54 cm, Hermitage
Museum, Saint Petersburg, Russia

The family moved to A Coruña in 1891,

where his father became a professor at
the School of Fine Arts. They stayed
almost four years. On one occasion, the
father found his son painting over his
unfinished sketch of a pigeon. Observing
the precision of his son's technique, an
apocryphal story relates, Ruiz felt that the
thirteen-year-old Picasso had surpassed
him, and vowed to give up painting,[14]
though paintings by him exist from later
years.
In 1895, Picasso was traumatized when
his seven-year-old sister, Conchita, died of
diphtheria.[15] After her death, the family
moved to Barcelona, where Ruiz took a
position at its School of Fine Arts. Picasso
thrived in the city, regarding it in times of
sadness or nostalgia as his true home.[16]
Ruiz persuaded the officials at the
academy to allow his son to take an
entrance exam for the advanced class.
This process often took students a month,
but Picasso completed it in a week, and
the jury admitted him, at just 13. The
student lacked discipline but made
friendships that would affect him in later
life. His father rented a small room for him
close to home so he could work alone, yet
he checked up on him numerous times a
day, judging his drawings. The two argued
frequently.

Picasso's father and uncle decided to send

the young artist to Madrid's Real Academia
de Bellas Artes de San Fernando, the
country's foremost art school.[16] At age
16, Picasso set off for the first time on his
own, but he disliked formal instruction and
stopped attending classes soon after
enrollment. Madrid held many other
attractions. The Prado housed paintings
by Diego Velázquez, Francisco Goya, and
Francisco Zurbarán. Picasso especially
admired the works of El Greco; elements
such as his elongated limbs, arresting
colours, and mystical visages are echoed
in Picasso's later work.

Career
Before 1900

Picasso in 1904. Photograph by Ricard Canals.

Picasso's training under his father began
before 1890. His progress can be traced in
the collection of early works now held by
the Museu Picasso in Barcelona, which
provides one of the most comprehensive
records extant of any major artist's
beginnings.[17] During 1893 the juvenile
quality of his earliest work falls away, and
by 1894 his career as a painter can be said
to have begun.[18] The academic realism
apparent in the works of the mid-1890s is
well displayed in The First Communion
(1896), a large composition that depicts
his sister, Lola. In the same year, at the age
of 14, he painted Portrait of Aunt Pepa, a
vigorous and dramatic portrait that Juan-
Eduardo Cirlot has called "without a doubt
one of the greatest in the whole history of
Spanish painting."[19]

In 1897, his realism began to show a

Symbolist influence, for example, in a
series of landscape paintings rendered in
non-naturalistic violet and green tones.
What some call his Modernist period
(1899–1900) followed. His exposure to
the work of Rossetti, Steinlen, Toulouse-
Lautrec and Edvard Munch, combined with
his admiration for favourite old masters
such as El Greco, led Picasso to a personal
version of modernism in his works of this
period.[20]

Picasso made his first trip to Paris, then

the art capital of Europe, in 1900. There, he
met his first Parisian friend, journalist and
poet Max Jacob, who helped Picasso learn
the language and its literature. Soon they
shared an apartment; Max slept at night
while Picasso slept during the day and
worked at night. These were times of
severe poverty, cold, and desperation.
Much of his work was burned to keep the
small room warm. During the first five
months of 1901, Picasso lived in Madrid,
where he and his anarchist friend
Francisco de Asís Soler founded the
magazine Arte Joven (Young Art), which
published five issues. Soler solicited
articles and Picasso illustrated the journal,
mostly contributing grim cartoons
depicting and sympathizing with the state
of the poor. The first issue was published
on 31 March 1901, by which time the artist
had started to sign his work Picasso;
before he had signed Pablo Ruiz y
Picasso.[21]
 La Vie The Old
(1903), Guitarist
Cleveland (1903),
Museum Chicago
of Art Art
Institute

Blue Period: 1901–1904

Picasso's Blue Period (1901–1904),

characterized by sombre paintings
rendered in shades of blue and blue-green,
only occasionally warmed by other
colours, began either in Spain in early
1901, or in Paris in the second half of the
year.[22] Many paintings of gaunt mothers
with children date from the Blue Period,
during which Picasso divided his time
between Barcelona and Paris. In his
austere use of colour and sometimes
doleful subject matter – prostitutes and
beggars are frequent subjects – Picasso
was influenced by a trip through Spain and
by the suicide of his friend Carlos
Casagemas. Starting in autumn of 1901 he
painted several posthumous portraits of
Casagemas, culminating in the gloomy
allegorical painting La Vie (1903), now in
the Cleveland Museum of Art.[23]
Pablo Picasso, 1905, Au Lapin Agile (At the Lapin
Agile) (Arlequin tenant un verre), oil on canvas, 99.1 ×
100.3 cm, Metropolitan Museum of Art

The same mood pervades the well-known

etching The Frugal Repast (1904),[24] which
depicts a blind man and a sighted woman,
both emaciated, seated at a nearly bare
table. Blindness is a recurrent theme in
Picasso's works of this period, also
represented in The Blindman's Meal (1903,
the Metropolitan Museum of Art) and in
the portrait of Celestina (1903). Other
works include Portrait of Soler and Portrait
of Suzanne Bloch.

Pablo Picasso, 1905, Garçon à la pipe, (Boy with a

Pipe), private collection, Rose Period

Rose Period: 1904–1906

The Rose Period (1904–1906)[25] is

characterized by a lighter tone and style
utilizing orange and pink colours, and
featuring many circus people, acrobats
and harlequins known in France as
saltimbanques. The harlequin, a comedic
character usually depicted in checkered
patterned clothing, became a personal
symbol for Picasso. Picasso met Fernande
Olivier, a bohemian artist who became his
mistress, in Paris in 1904.[15] Olivier
appears in many of his Rose Period
paintings, many of which are influenced by
his warm relationship with her, in addition
to his increased exposure to French
painting. The generally upbeat and
optimistic mood of paintings in this period
is reminiscent of the 1899–1901 period
(i.e. just prior to the Blue Period) and 1904
can be considered a transition year
between the two periods.

Portrait of Gertrude Stein, 1906, Metropolitan Museum

of Art, New York City. When someone commented that
Stein did not look like her portrait, Picasso replied,
"She will".[26]

By 1905, Picasso became a favourite of

American art collectors Leo and Gertrude
Stein. Their older brother Michael Stein
and his wife Sarah also became collectors
of his work. Picasso painted portraits of
both Gertrude Stein and her nephew Allan
Stein. Gertrude Stein became Picasso's
principal patron, acquiring his drawings
and paintings and exhibiting them in her
informal Salon at her home in Paris.[27] At
one of her gatherings in 1905, he met
Henri Matisse, who was to become a
lifelong friend and rival. The Steins
introduced him to Claribel Cone and her
sister Etta who were American art
collectors; they also began to acquire
Picasso and Matisse's paintings.
Eventually Leo Stein moved to Italy.
Michael and Sarah Stein became patrons
of Matisse, while Gertrude Stein continued
to collect Picasso.[28]

In 1907 Picasso joined an art gallery that

had recently been opened in Paris by
Daniel-Henry Kahnweiler. Kahnweiler was
a German art historian and art collector
who became one of the premier French art
dealers of the 20th century. He was among
the first champions of Pablo Picasso,
Georges Braque and the Cubism that they
jointly developed. Kahnweiler promoted
burgeoning artists such as André Derain,
Kees van Dongen, Fernand Léger, Juan
Gris, Maurice de Vlaminck and several
others who had come from all over the
globe to live and work in Montparnasse at
the time.[29]

Les Demoiselles d'Avignon (1907), Museum of Modern

Art, New York

African art and primitivism: 1907–

1909

Picasso's African-influenced Period

(1907–1909) begins with his painting Les
Demoiselles d'Avignon. Picasso painted
this composition in a style inspired by
Iberian sculpture, but repainted the faces
of the two figures on the right after being
powerfully impressed by African artefacts
he saw in June 1907 in the ethnographic
museum at Palais du Trocadéro.[30] When
he displayed the painting to acquaintances
in his studio later that year, the nearly
universal reaction was shock and
revulsion; Matisse angrily dismissed the
work as a hoax.[31] Picasso did not exhibit
Le Demoiselles publicly until 1916.

Other works from this period include Nude

with Raised Arms (1907) and Three Women
(1908). Formal ideas developed during this
period lead directly into the Cubist period
that follows.

Analytic cubism: 1909–1912

Analytic cubism (1909–1912) is a style of

painting Picasso developed with Georges
Braque using monochrome brownish and
neutral colours. Both artists took apart
objects and "analyzed" them in terms of
their shapes. Picasso and Braque's
paintings at this time share many
similarities.

Synthetic cubism: 1912–1919

Synthetic cubism (1912–1919) was a
further development of the genre of
cubism, in which cut paper fragments –
often wallpaper or portions of newspaper
pages – were pasted into compositions,
marking the first use of collage in fine art.
In Paris, Picasso entertained a
distinguished coterie of friends in the
Montmartre and Montparnasse quarters,
including André Breton, poet Guillaume
Apollinaire, writer Alfred Jarry, and
Gertrude Stein. Apollinaire was arrested on
suspicion of stealing the Mona Lisa from
the Louvre in 1911. Apollinaire pointed to
his friend Picasso, who was also brought
in for questioning, but both were later
exonerated.[32]

Between 1915 and 1917, Picasso began a

series of paintings depicting highly
geometric and minimalist Cubist objects,
consisting of either a pipe, a guitar or a
glass, with an occasional element of
collage. "Hard-edged square-cut
diamonds", notes art historian John
Richardson, "these gems do not always
have upside or downside".[33][34] "We need
a new name to designate them," wrote
Picasso to Gertrude Stein: Maurice Raynal
suggested "Crystal Cubism".[33][35] These
"little gems" may have been produced by
Picasso in response to critics who had
claimed his defection from the movement,
through his experimentation with
classicism within the so-called return to
order following the war.[33][36]

Costume design by Pablo Picasso representing

skyscrapers and boulevards, for Serge Diaghilev's
Ballets Russes performance of Parade at Théâtre du
Châtelet, Paris 18 May 1917
After acquiring some fame and fortune,
Picasso left Olivier for Marcelle Humbert,
who he called Eva Gouel. Picasso included
declarations of his love for Eva in many
Cubist works. Picasso was devastated by
her premature death from illness at the
age of 30 in 1915.[37]

Pablo Picasso and scene painters sitting on the front

cloth for Léonide Massine's ballet Parade, staged by
Sergei Diaghilev's Ballets Russes at the Théâtre du
Châtelet, Paris, 1917
Parade, 1917, curtain designed for the ballet Parade.
The work is the largest of Picasso's paintings. Centre
Pompidou-Metz, Metz, France, May 2012.

Portrait d'Olga dans un fauteuil (Olga in an Armchair),

1918, Musée Picasso, Paris, France
At the outbreak of World War I in August
1914, Picasso was living in Avignon.
Braque and Derain were mobilized and
Apollinaire joined the French artillery, while
the Spaniard Juan Gris remained from the
Cubist circle. During the war, Picasso was
able to continue painting uninterrupted,
unlike his French comrades. His paintings
became more sombre and his life changed
with dramatic consequences. Kahnweiler’s
contract had terminated on his exile from
France. At this point Picasso’s work would
be taken on by the art dealer Léonce
Rosenberg. After the loss of Eva Gouel,
Picasso had an affair with Gaby
Lespinasse. During the spring of 1916,
Apollinaire returned from the front
wounded. They renewed their friendship,
but Picasso began to frequent new social
circles.[38]

Towards the end of World War I, Picasso

made a number of important relationships
with figures associated with Serge
Diaghilev's Ballets Russes. Among his
friends during this period were Jean
Cocteau, Jean Hugo, Juan Gris, and
others. In the summer of 1918, Picasso
married Olga Khokhlova, a ballerina with
Sergei Diaghilev's troupe, for whom
Picasso was designing a ballet, Erik Satie's
Parade, in Rome; they spent their
honeymoon near Biarritz in the villa of
glamorous Chilean art patron Eugenia
Errázuriz.

After returning from his honeymoon, and in

desperate need of money, Picasso started
his exclusive relationship with the French-
Jewish art dealer Paul Rosenberg. As part
of his first duties, Rosenberg agreed to
rent the couple an apartment in Paris at
his own expense, which was located next
to his own house. This was the start of a
deep brother-like friendship between two
very different men, that would last until the
outbreak of World War II.
Khokhlova introduced Picasso to high
society, formal dinner parties, and all the
social niceties attendant to the life of the
rich in 1920s Paris. The two had a son,
Paulo Picasso,[39] who would grow up to
be a dissolute motorcycle racer and
chauffeur to his father. Khokhlova's
insistence on social propriety clashed with
Picasso's bohemian tendencies and the
two lived in a state of constant conflict.
During the same period that Picasso
collaborated with Diaghilev's troupe, he
and Igor Stravinsky collaborated on
Pulcinella in 1920. Picasso took the
opportunity to make several drawings of
the composer.
In 1927 Picasso met 17-year-old Marie-
Thérèse Walter and began a secret affair
with her. Picasso's marriage to Khokhlova
soon ended in separation rather than
divorce, as French law required an even
division of property in the case of divorce,
and Picasso did not want Khokhlova to
have half his wealth. The two remained
legally married until Khokhlova's death in
1955. Picasso carried on a long-standing
affair with Marie-Thérèse Walter and
fathered a daughter with her, named Maya.
Marie-Thérèse lived in the vain hope that
Picasso would one day marry her, and
hanged herself four years after Picasso's
death.
1909, Femme assise (Sitzende Frau), oil on
canvas, 100 × 80 cm, Staatliche Museen,
Neue Nationalgalerie, Berlin

1909–10, Figure dans un Fauteuil (Seated

Nude, Femme nue assise), oil on canvas,
92.1 × 73 cm, Tate Modern, London. This
painting from the collection of Wilhelm
Uhde was confiscated by the French state
and sold at the Hôtel Drouot in 1921
1910, Woman with Mustard Pot (La Femme
au pot de moutarde), oil on canvas, 73 ×
60 cm, Gemeentemuseum, The Hague.
Exhibited at the Armory Show, New York,
Chicago, Boston 1913
 1910, Girl with a Mandolin (Fanny Tellier),
oil on canvas, 100.3 × 73.6 cm, Museum of
Modern Art, New York
1910, Portrait of Daniel-Henry Kahnweiler,
The Art Institute of Chicago. Picasso
wrote of Kahnweiler "What would have
become of us if Kahnweiler hadn't had a
business sense?"
 1910–11, Guitariste, La mandoliniste
(Woman playing guitar or mandolin), oil on
canvas
c.1911, Le Guitariste. Reproduced in Albert
Gleizes and Jean Metzinger, Du "Cubisme",
1912
1911, Still Life with a Bottle of Rum, oil on
canvas, 61.3 × 50.5 cm, Metropolitan
Museum of Art, New York
 1911, The Poet (Le poète), oil on linen,
131.2 × 89.5 cm (51 5/8 × 35 1/4 in), The
Solomon R. Guggenheim Foundation,
Peggy Guggenheim Collection, Venice
 1911–12, Violon (Violin), oil on canvas,
100 × 73 cm (oval), Kröller-Müller Museum,
Otterlo, Netherlands. This painting from
the collection of Wilhelm Uhde was
confiscated by the French state and sold
at the Hôtel Drouot in 1921
 1913, Bouteille, clarinet, violon, journal,
verre, 55 × 45 cm. This painting from the
collection of Wilhelm Uhde was
confiscated by the French state and sold
at the Hôtel Drouot in 1921
1913, Femme assise dans un fauteuil (Eva),
Woman in a Chemise in an Armchair, oil on
canvas, 149.9 × 99.4 cm, Leonard A.
Lauder Cubist Collection, Metropolitan
Museum of Art
 1913–14, Head (Tête), cut and pasted
coloured paper, gouache and charcoal on
paperboard, 43.5 × 33 cm, Scottish
National Gallery of Modern Art, Edinburgh
1913–14, L'Homme aux cartes (Card
Player), oil on canvas, 108 × 89.5 cm,
Museum of Modern Art, New York
1914–15, Nature morte au compotier (Still
Life with Compote and Glass), oil on
canvas, 63.5 × 78.7 cm (25 × 31 in),
Columbus Museum of Art, Ohio
 1916, L'anis del mono (Bottle of Anis del
Mono), oil on canvas, 46 × 54.6 cm, Detroit
Institute of Arts, Michigan

Neoclassicism and surrealism: 1919–

1929
Pablo Picasso, 1918, Pierrot, oil on canvas, 92.7 × 73
cm, Museum of Modern Art, New York

Pablo Picasso, 1919, Sleeping Peasants, gouache,

watercolor and pencil on paper, 31.1 × 48.9 cm,
Museum of Modern Art
In February 1917, Picasso made his first
trip to Italy.[40] In the period following the
upheaval of World War I, Picasso produced
work in a neoclassical style. This "return to
order" is evident in the work of many
European artists in the 1920s, including
André Derain, Giorgio de Chirico, Gino
Severini, Jean Metzinger, the artists of the
New Objectivity movement and of the
Novecento Italiano movement. Picasso's
paintings and drawings from this period
frequently recall the work of Raphael and
Ingres.

In 1925 the Surrealist writer and poet

André Breton declared Picasso as 'one of
ours' in his article Le Surréalisme et la
peinture, published in Révolution
surréaliste. Les Demoiselles was
reproduced for the first time in Europe in
the same issue. Yet Picasso exhibited
Cubist works at the first Surrealist group
exhibition in 1925; the concept of 'psychic
automatism in its pure state' defined in the
Manifeste du surréalisme never appealed
to him entirely. He did at the time develop
new imagery and formal syntax for
expressing himself emotionally, "releasing
the violence, the psychic fears and the
eroticism that had been largely contained
or sublimated since 1909", writes art
historian Melissa McQuillan.[41] Although
this transition in Picasso's work was
informed by Cubism for its spatial
relations, "the fusion of ritual and abandon
in the imagery recalls the primitivism of
the Demoiselles and the elusive
psychological resonances of his Symbolist
work", writes McQuillan.[41] Surrealism
revived Picasso’s attraction to primitivism
and eroticism.[41]

The Great Depression to MoMA

exhibition: 1930–1939

During the 1930s, the minotaur replaced

the harlequin as a common motif in his
work. His use of the minotaur came partly
from his contact with the surrealists, who
often used it as their symbol, and it
appears in Picasso's Guernica. The
minotaur and Picasso's mistress Marie-
Thérèse Walter are heavily featured in his
celebrated Vollard Suite of etchings.[42]

Guernica, 1937, Museo Reina Sofia

Arguably Picasso's most famous work is

his depiction of the German bombing of
Guernica during the Spanish Civil War –
Guernica. This large canvas embodies for
many the inhumanity, brutality and
hopelessness of war. Asked to explain its
symbolism, Picasso said, "It isn't up to the
painter to define the symbols. Otherwise it
would be better if he wrote them out in so
many words! The public who look at the
picture must interpret the symbols as they
understand them."[43][44] Guernica was
exhibited in July 1937 at the Spanish
Pavilion at the Paris International
Exposition, and then became the
centerpiece of an exhibition of 118 works
by Picasso, Matisse, Braque and Henri
Laurens that toured Scandinavia and
England. After the victory of Francisco
Franco in Spain, the painting was sent to
the United States to raise funds and
support for Spanish refugees. Until 1981 it
was entrusted to the Museum of Modern
Art (MoMA) in New York City, as it was
Picasso's expressed desire that the
painting should not be delivered to Spain
until liberty and democracy had been
established in the country.

In 1939–40 the Museum of Modern Art in

New York City, under its director Alfred
Barr, a Picasso enthusiast, held a major
retrospective of Picasso's principal works
until that time. This exhibition lionized the
artist, brought into full public view in
America the scope of his artistry, and
resulted in a reinterpretation of his work by
contemporary art historians and
scholars.[45] According to Jonathan
Weinberg, "Given the extraordinary quality
of the show and Picasso's enormous
prestige, generally heightened by the
political impact of Guernica ... the critics
were surprisingly ambivalent".[46] Picasso's
"multiplicity of styles" was disturbing to
one journalist, another described the artist
as "wayward and even malicious"; Alfred
Frankenstein's review in ARTnews
concluded that Picasso was both
charlatan and genius.[46]
World War II and late 1940s: 1939–
1949

Pablo Picasso photographed in 1953 by Paolo Monti

during an exhibition at Palazzo Reale in Milan (Fondo
Paolo Monti, BEIC).

During the Second World War, Picasso

remained in Paris while the Germans
occupied the city. Picasso's artistic style
did not fit the Nazi ideal of art, so he did
not exhibit during this time. He was often
harassed by the Gestapo. During one
search of his apartment, an officer saw a
photograph of the painting Guernica. "Did
you do that?" the German asked Picasso.
"No," he replied, "You did".[47]

Retreating to his studio, he continued to

paint, producing works such as the Still
Life with Guitar (1942) and The Charnel
House (1944–48).[48] Although the
Germans outlawed bronze casting in Paris,
Picasso continued regardless, using
bronze smuggled to him by the French
Resistance.[49]
Stanisław Lorentz guides Pablo Picasso through the
National Museum in Warsaw in Poland during
exhibition Contemporary French Painters and Pablo
Picasso's Ceramics, 1948. Picasso gave Warsaw's
museum over a dozen of his ceramics, drawings and
colour prints.[50]

Around this time, Picasso took up writing

as an alternative outlet. Between 1935 and
1959 he wrote over 300 poems. Largely
untitled except for a date and sometimes
the location of where it was written (for
example "Paris 16 May 1936"), these
works were gustatory, erotic and at times
scatological, as were his two full-length
plays Desire Caught by the Tail (1941) and
The Four Little Girls (1949).[51][52]

In 1944, after the liberation of Paris,

Picasso, then 63 years old, began a
romantic relationship with a young art
student named Françoise Gilot. She was
40 years younger than he was. Picasso
grew tired of his mistress Dora Maar;
Picasso and Gilot began to live together.
Eventually they had two children: Claude,
born in 1947 and Paloma, born in 1949. In
her 1964 book Life with Picasso,[53] Gilot
describes his abusive treatment and
myriad infidelities which led her to leave
him, taking the children with her. This was
a severe blow to Picasso.

Picasso had affairs with women of an

even greater age disparity than his and
Gilot's. While still involved with Gilot, in
1951 Picasso had a six-week affair with
Geneviève Laporte, who was four years
younger than Gilot. By his 70s, many
paintings, ink drawings and prints have as
their theme an old, grotesque dwarf as the
doting lover of a beautiful young model.
Jacqueline Roque (1927–1986) worked at
the Madoura Pottery in Vallauris on the
French Riviera, where Picasso made and
painted ceramics. She became his lover,
and then his second wife in 1961. The two
were together for the remainder of
Picasso's life.

His marriage to Roque was also a means

of revenge against Gilot; with Picasso's
encouragement, Gilot had divorced her
then husband, Luc Simon, with the plan to
marry Picasso to secure the rights of her
children as Picasso's legitimate heirs.
Picasso had already secretly married
Roque, after Gilot had filed for divorce. His
strained relationship with Claude and
Paloma was never healed.[54]
By this time, Picasso had constructed a
huge Gothic home, and could afford large
villas in the south of France, such as Mas
Notre-Dame-de-Vie on the outskirts of
Mougins, and in the Provence-Alpes-Côte
d'Azur. He was an international celebrity,
with often as much interest in his personal
life as his art.[55]

Later works to final years: 1949–1973

The Chicago Picasso, a 50-foot high public Cubist

 g g p
sculpture. Donated by Picasso to the people of
Chicago

Picasso was one of 250 sculptors who

exhibited in the 3rd Sculpture International
held at the Philadelphia Museum of Art in
mid-1949. In the 1950s, Picasso's style
changed once again, as he took to
producing reinterpretations of the art of
the great masters. He made a series of
works based on Velázquez's painting of
Las Meninas. He also based paintings on
works by Goya, Poussin, Manet, Courbet
and Delacroix.
In addition to his artistic
accomplishments, Picasso made a few
film appearances, always as himself,
including a cameo in Jean Cocteau's
Testament of Orpheus (1960). In 1955 he
helped make the film Le Mystère Picasso
(The Mystery of Picasso) directed by Henri-
Georges Clouzot.

He was commissioned to make a

maquette for a huge 50-foot (15 m)-high
public sculpture to be built in Chicago,
known usually as the Chicago Picasso. He
approached the project with a great deal of
enthusiasm, designing a sculpture which
was ambiguous and somewhat
controversial. What the figure represents is
not known; it could be a bird, a horse, a
woman or a totally abstract shape. The
sculpture, one of the most recognizable
landmarks in downtown Chicago, was
unveiled in 1967. Picasso refused to be
paid $100,000 for it, donating it to the
people of the city.

Picasso's final works were a mixture of

styles, his means of expression in
constant flux until the end of his life.
Devoting his full energies to his work,
Picasso became more daring, his works
more colourful and expressive, and from
1968 to 1971 he produced a torrent of
paintings and hundreds of copperplate
etchings. At the time these works were
dismissed by most as pornographic
fantasies of an impotent old man or the
slapdash works of an artist who was past
his prime.[56][57] Only later, after Picasso's
death, when the rest of the art world had
moved on from abstract expressionism,
did the critical community come to see the
late works of Picasso as prefiguring Neo-
Expressionism.[58]

Pablo Picasso died on 8 April 1973 in

Mougins, France from pulmonary edema
and heart failure, while he and his wife
Jacqueline entertained friends for dinner.
He was interred at the Château of
Vauvenargues near Aix-en-Provence, a
property he had acquired in 1958 and
occupied with Jacqueline between 1959
and 1962. Jacqueline Roque prevented his
children Claude and Paloma from
attending the funeral.[59] Devastated and
lonely after the death of Picasso,
Jacqueline Roque killed herself by gunshot
in 1986 when she was 59 years old.[60]

Political views
Picasso remained aloof from the Catalan
independence movement during his youth
despite expressing general support and
being friendly with activists within it. He
did not join the armed forces for any side
or country during World War I, the Spanish
Civil War, and World War II. As a Spanish
citizen living in France, Picasso was under
no compulsion to fight against the
invading Germans in either world war.
However, in 1940 he did apply for French
citizenship, but it was refused on the
grounds of his "extremist ideas evolving
towards communism". This information
was not revealed until 2003.[61]

At the start of the Spanish Civil War in

1936, Picasso was 54 years of age. Soon
after hostilities began, the Republicans
appointed him "director of the Prado, albeit
in absentia", and "he took his duties very
seriously", according to John Richardson,
supplying the funds to evacuate the
museum's collection to Geneva.[62] The
war provided the impetus for Picasso's
first overtly political work. He expressed
anger and condemnation of Francisco
Franco and fascists in The Dream and Lie
of Franco (1937), which was produced
"specifically for propagandistic and
fundraising purposes".[63] This surreal
fusion of words and images was intended
to be sold as a series of postcards to raise
funds for the Spanish Republican
cause.[63][64]
In 1944 Picasso joined the French
Communist Party, attended an
international peace conference in Poland,
and in 1950 received the Stalin Peace
Prize from the Soviet government.[65] Party
criticism in 1953 of his portrait of Stalin as
insufficiently realistic cooled Picasso's
interest in Soviet politics, though he
remained a loyal member of the
Communist Party until his death.[62] His
dealer, D-H. Kahnweiler, a socialist, termed
Picasso's communism "sentimental" rather
than political, saying "He has never read a
line of Karl Marx, nor of Engels of
course."[62] In a 1945 interview with
Jerome Seckler, Picasso stated: "I am a
Communist and my painting is Communist
painting. ... But if I were a shoemaker,
Royalist or Communist or anything else, I
would not necessarily hammer my shoes
in a special way to show my politics."[66]
His commitment to communism, common
among continental intellectuals and artists
at the time, has long been the subject of
some controversy; a notable
demonstration thereof was a quote
commonly attributed to Salvador Dalí (with
whom Picasso had a rather strained
relationship[67]):

Picasso es pintor, yo también; [...]

Picasso es español, yo también; Picasso
 es comunista, yo tampoco.
(Picasso is a painter, so am I; [...]
Picasso is a Spaniard, so am I; Picasso
is a communist, neither am I.)[68][69][70]

Massacre in Korea, 1951

In the late 1940s his old friend the

surrealist poet and Trotskyist[71] and anti-
Stalinist André Breton was more blunt;
refusing to shake hands with Picasso, he
told him: "I don't approve of your joining
the Communist Party nor with the stand
you have taken concerning the purges of
the intellectuals after the Liberation".[72]

Picasso was against the intervention of

the United Nations and the United States
in the Korean War and he depicted it in
Massacre in Korea.[73][74] The art critic
Kirsten Hoving Keen says that it is
"inspired by reports of American atrocities"
and considers it one of Picasso's
communist works.[75]

In 1962, he received the Lenin Peace

Prize.[76] Biographer and art critic John
Berger felt his talents as an artist were
"wasted" by the communists.[77] According
to Jean Cocteau's diaries, Picasso once
said to him in reference to the
communists: "I have joined a family, and
like all families, it's full of shit".[78]

Style and technique

Picasso was exceptionally prolific
throughout his long lifetime. The total
number of artworks he produced has been
estimated at 50,000, comprising 1,885
paintings; 1,228 sculptures; 2,880
ceramics, roughly 12,000 drawings, many
thousands of prints, and numerous
tapestries and rugs.[79]
The medium in which Picasso made his
most important contribution was
painting.[80] In his paintings, Picasso used
colour as an expressive element, but relied
on drawing rather than subtleties of colour
to create form and space.[80] He
sometimes added sand to his paint to vary
its texture. A nanoprobe of Picasso's The
Red Armchair (1931) by physicists at
Argonne National Laboratory in 2012
confirmed art historians' belief that
Picasso used common house paint in
many of his paintings.[81] Much of his
painting was done at night by artificial
light.
Picasso's early sculptures were carved
from wood or modelled in wax or clay, but
from 1909 to 1928 Picasso abandoned
modelling and instead made sculptural
constructions using diverse materials.[80]
An example is Guitar (1912), a relief
construction made of sheet metal and wire
that Jane Fluegel terms a "three-
dimensional planar counterpart of Cubist
painting" that marks a "revolutionary
departure from the traditional approaches,
modeling and carving".[82]

From the beginning of his career, Picasso

displayed an interest in subject matter of
every kind,[83] and demonstrated a great
stylistic versatility that enabled him to
work in several styles at once. For
example, his paintings of 1917 included
the pointillist Woman with a Mantilla, the
Cubist Figure in an Armchair, and the
naturalistic Harlequin (all in the Museu
Picasso, Barcelona). In 1919, he made a
number of drawings from postcards and
photographs that reflect his interest in the
stylistic conventions and static character
of posed photographs.[84] In 1921 he
simultaneously painted several large
neoclassical paintings and two versions of
the Cubist composition Three Musicians
(Museum of Modern Art, New York;
Philadelphia Museum of Art).[40] In an
interview published in 1923, Picasso said,
"The several manners I have used in my art
must not be considered as an evolution, or
as steps towards an unknown ideal of
painting ... If the subjects I have wanted to
express have suggested different ways of
expression I have never hesitated to adopt
them."[40]

Although his Cubist works approach

abstraction, Picasso never relinquished
the objects of the real world as subject
matter. Prominent in his Cubist paintings
are forms easily recognized as guitars,
violins, and bottles.[85] When Picasso
depicted complex narrative scenes it was
usually in prints, drawings, and small-scale
works; Guernica (1937) is one of his few
large narrative paintings.[84]

Picasso painted mostly from imagination

or memory. According to William Rubin,
Picasso "could only make great art from
subjects that truly involved him ... Unlike
Matisse, Picasso had eschewed models
virtually all his mature life, preferring to
paint individuals whose lives had both
impinged on, and had real significance for,
his own."[86] The art critic Arthur Danto
said Picasso's work constitutes a "vast
pictorial autobiography" that provides
some basis for the popular conception
that "Picasso invented a new style each
time he fell in love with a new woman".[86]
The autobiographical nature of Picasso's
art is reinforced by his habit of dating his
works, often to the day. He explained: "I
want to leave to posterity a documentation
that will be as complete as possible.
That's why I put a date on everything I
do."[86]

Artistic legacy
Postage stamp, USSR, 1973. Picasso has been
honoured on stamps worldwide.

Picasso's influence was and remains

immense and widely acknowledged by his
admirers and detractors alike. On the
occasion of his 1939 retrospective at
MoMA, Life magazine wrote: "During the
25 years he has dominated modern
European art, his enemies say he has been
a corrupting influence. With equal violence,
his friends say he is the greatest artist
alive."[87] In 1998, Robert Hughes wrote of
him: "To say that Pablo Picasso dominated
Western art in the 20th century is, by now,
the merest commonplace. ... No painter or
sculptor, not even Michelangelo, had been
as famous as this in his own lifetime. ...
Though Marcel Duchamp, that cunning old
fox of conceptual irony, has certainly had
more influence on nominally vanguard art
over the past 30 years than Picasso, the
Spaniard was the last great beneficiary of
the belief that the language of painting and
sculpture really mattered to people other
than their devotees."[88]
Musée Picasso, Paris (Hotel Salé, 1659

At the time of Picasso's death many of his

paintings were in his possession, as he
had kept off the art market what he did not
need to sell. In addition, Picasso had a
considerable collection of the work of
other famous artists, some his
contemporaries, such as Henri Matisse,
with whom he had exchanged works.
Since Picasso left no will, his death duties
(estate tax) to the French state were paid
in the form of his works and others from
his collection. These works form the core
of the immense and representative
collection of the Musée Picasso in Paris.
In 2003, relatives of Picasso inaugurated a
museum dedicated to him in his
birthplace, Málaga, Spain, the Museo
Picasso Málaga.

Museu Picasso is located in the gothic palaces of

Montcada street in Barcelona
Montcada street in Barcelona

The Museu Picasso in Barcelona features

many of his early works, created while he
was living in Spain, including many rarely
seen works which reveal his firm
grounding in classical techniques. The
museum also holds many precise and
detailed figure studies done in his youth
under his father's tutelage, as well as the
extensive collection of Jaime Sabartés, his
close friend and personal secretary.
Art Museum Pablo Picasso Münster Arkaden

Guernica was on display in New York's

Museum of Modern Art for many years. In
1981, it was returned to Spain and was on
exhibit at the Casón del Buen Retiro. In
1992 the painting was put on display in
Madrid's Reina Sofía Museum when it
opened.

In the 1996 movie Surviving Picasso,

Picasso is portrayed by actor Anthony
Hopkins.[89] Picasso is also a character in
Steve Martin's 1993 play, Picasso at the
Lapin Agile. In A Moveable Feast by Ernest
Hemingway, Hemingway tells Gertrude
Stein that he would like to have some
Picassos, but cannot afford them. Later in
the book, Hemingway mentions looking at
one of Picasso's paintings. He refers to it
as Picasso's nude of the girl with the
basket of flowers, possibly related to
"Young Naked Girl with Flower Basket".

On 8 October 2010, Picasso: Masterpieces

from the Musée National Picasso, Paris, an
exhibition of 150 paintings, sculptures,
drawings, prints and photographs from the
Musée National Picasso in Paris, opened
at the Seattle Art Museum, Seattle,
Washington, US. The exhibition
subsequently travelled to Virginia Museum
of Fine Arts, Richmond, Virginia, US.; the
M. H. de Young Memorial Museum, San
Francisco, California, US.;[90] the Art
Gallery of New South Wales, Sydney,
Australia;[91] and the Art Gallery of Ontario,
Toronto, Ontario, Canada.

As of 2015, Picasso remained the top-

ranked artist (based on sales of his works
at auctions) according to the Art Market
Trends report.[92] More of his paintings
have been stolen than any other artist's;[93]
in 2012, the Art Loss Register had 1,147 of
his works listed as stolen.[94] The Picasso
Administration functions as his official
Estate. The US copyright representative for
the Picasso Administration is the Artists
Rights Society.[95]

Auction history

Several paintings by Picasso rank among

the most expensive paintings in the world.
Garçon à la pipe sold for US$104 million at
Sotheby's on 4 May 2004, establishing a
new price record. Dora Maar au Chat sold
for US$95.2 million at Sotheby's on 3 May
2006.[96] On 4 May 2010, Nude, Green
Leaves and Bust was sold at Christie's for
$106.5 million. The 1932 work, which
depicts Picasso's mistress Marie-Thérèse
Walter reclining and as a bust, was in the
personal collection of Los Angeles
philanthropist Frances Lasker Brody, who
died in November 2009.[97] On 11 May
2015 his painting Women of Algiers set the
record for the highest price ever paid for a
painting when it sold for US$179.3 million
at Christie's in New York.[98]

On 21 June 2016, a painting by Pablo

Picasso titled Femme Assise (1909) sold
for £43.2 million ($63.4 million) at
Sotheby's London, exceeding the estimate
by nearly $20 million, setting a world
record for the highest price ever paid at
auction for a Cubist work.[99][100]
On 17 May 2017, The Jerusalem Post in an
article titled "Picasso Work Stolen By
Nazi's Sells for $45 Million at Auction"
reported the sale of a portrait painted by
Picasso, the 1939 Femme assise, robe
bleu, which was previously
misappropriated during the early years of
WWII. The painting has changed hands
several times since its recovery, most
recently through auction in May 2017 at
Christie's in New York City.[101]

Personal life
Throughout his life Picasso maintained
several mistresses in addition to his wife
or primary partner. Picasso was married
twice and had four children by three
women:

Paulo (4 February 1921 – 5 June 1975)

(Born Paul Joseph Picasso) – with Olga
Khokhlova
Maya (5 September 1935 – ) (Born
Maria de la Concepcion Picasso) – with
Marie-Thérèse Walter
Claude (15 May 1947 –) (Born Claude
Pierre Pablo Picasso) – with Françoise
Gilot
Paloma (19 April 1949 – ) (Born Anne
Paloma Picasso) – with Françoise Gilot
Photographer and painter Dora Maar was
also a constant companion and lover of
Picasso. The two were closest in the late
1930s and early 1940s, and it was Maar
who documented the painting of Guernica.

See also
Picasso's poetry
Neoclassical
Testament of Orpheus
Jacqueline Roque
List of Picasso artworks 1901–10
List of Picasso artworks 1911–20

Notes
1. Pierre Daix, Georges Boudaille, Joan
Rosselet, Picasso, 1900-1906: catalogue
raisonné de l'oeuvre peint, Editions Ides et
Calendes, 1988
2. "Picasso" . Random House Webster's
Unabridged Dictionary.
3. "The Guitar, MoMA" . Moma.org.
Retrieved 3 February 2012.
4. "Sculpture, Tate" . Tate.org.uk. Retrieved
3 February 2012.
5. Tate. "Matisse Picasso – Exhibition at
Tate Modern - Tate" . Tate.
6. Green, Christopher (2003), Art in France:
1900–1940 , New Haven, Conn: Yale
University Press, p. 77, ISBN 0300099088,
retrieved 10 February 2013
7. Searle, Adrian (7 May 2002). "A
momentous, tremendous exhibition" .
Guardian. UK. Retrieved 13 February 2010.
8. "Matisse and Picasso Paul Trachtman,
Smithsonian, February 2003" (PDF).
9. "On-line Picasso Project" .
10. Hamilton, George H. (1976). "Picasso,
Pablo Ruiz Y". In William D. Halsey. Collier's
Encyclopedia. 19. New York: Macmillan
Educational Corporation. pp. 25–26.
11. De Felice, Emidio (1992) [1978].
Dizionario dei cognomi italiani (in Italian).
Milan: Arnoldo Mondadori Editore. p. 194.
ISBN 88-04-35449-6.
12. Neil Cox (2010). The Picasso Book.
Tate Publishing. p. 124.
ISBN 9781854378439. “Unlike Matisse's
chapel, the ruined Vallauris building had
long since ceased to fulfill a religious
function, so the atheist Picasso no doubt
delighted in reinventing its use for the
secular Communist cause of 'Peace'.”
13. Wertenbaker 1967, 9.
14. Wertenbaker 1967, 11.
15. "Picasso: Creator and Destroyer –
88.06" . Theatlantic.com. Retrieved
21 December 2009.
16. Wertenbaker 1967, 13.
17. Cirlot 1972, p.6.
18. Cirlot 1972, p. 14.
19. Cirlot 1972, p.37.
20. Cirlot 1972, pp. 87–108.
21. Cirlot 1972, p. 125.
22. Cirlot 1972, p.127.
23. Wattenmaker, Distel, et al. 1993, p. 304.
24. The Frugal Repast, Metropolitan
Museum of Art . Retrieved 11 March 2010.
25. Wattenmaker, Distel, et al. 1993, p. 194.
26. "Portrait of Gertrude Stein" .
Metropolitan Museum. Retrieved 26 August
2010.
27. "Special Exhibit Examines Dynamic
Relationship Between the Art of Pablo
Picasso and Writing" (PDF). Yale University
Art Gallery (Press release). Archived from
the original (PDF) on 26 May 2013.
28. James R. Mellow. Charmed Circle .
Gertrude Stein and Company.
29. "Cubism and its Legacy" . Tate
Liverpool. Retrieved 26 August 2010.
30. Rubin 1980, p. 87.
31. "Culture Shock" , pbs.org. Retrieved 7
January 2017.
32. Richard Lacayo (7 April 2009). "Art's
Great Whodunit: The Mona Lisa Theft of
1911" . TIME. Time Inc. Retrieved 28 June
2013.
33. John Richardson, A Life of Picasso: The
Triumphant Years, 1917-1932, Knopf
Doubleday Publishing Group, Dec 24, 2008,
pp. 77-78 , ISBN 030749649X
34. Letter from Juan Gris to Maurice
Raynal, 23 May 1917, Kahnweiler-Gris 1956,
18
35. Paul Morand, 1996, 19 May 1917, p.
143-4
36. Christopher Green, Cubism and its
Enemies, Modern Movements and Reaction
in French Art, 1916–1928, Yale University
Press, New Haven and London, 1987, pp.
13-47
37. Harrison, Charles; Frascina, Francis;
Perry, Gillian (1993). Primitivism, Cubism,
Abstraction . Google Books. Retrieved
26 August 2010.
38. "Melissa McQuillan, ''Primitivism and
Cubism, 1906–15, War Years'', From Grove
Art Online, MoMA" . Moma.org. 1915-12-14.
Retrieved 2014-07-17.
39. "Paul (Paolo) Picasso is born" .
Xtimeline.com. Archived from the original
on 2 April 2012. Retrieved 3 February 2012.
40. Cowling & Mundy 1990, p. 201.
41. "Melissa McQuillan, ''Pablo Picasso,
Interactions with Surrealism, 1925–35'',
from Grove Art Online, 2009 Oxford
University Press, MoMA" . Moma.org. 1931-
01-12. Retrieved 2014-07-17.
42. Richard Dorment (8 May 2012).
"Picasso, The Vollard Suite, British
Museum, review" . The Daily Telegraph.
Retrieved 19 May 2012.
43. "Guernica Introduction" . Pbs.org.
Retrieved 21 December 2009.
44. The Spanish Wars of Goya and Picasso,
Costa Tropical News Archived 9 May
2010 at the Wayback Machine.. Retrieved 4
June 2010.
45. The MoMA retrospective of 1939–40 —
see Michael C. FitzGerald, Making
Modernism: Picasso and the Creation of
the Market for Twentieth-Century Art (New
York: Farrar, Straus and Giroux, 1995;
Berkeley: University of California Press,
1996), pp. 243–262.
46. Weinberg, Jonathan (2001). Ambition &
Love in Modern American Art . New Haven
[Connecticut]: Yale University Press. p. 33.
0300081871
47. Regan, Geoffrey (1992). Military
Anecdotes. Guinness Publishing. p. 25.
ISBN 0-85112-519-0
48. Kendall, L. R., Pablo Picasso (1881–
1973): The Charnel House in Pieces...
Occasional and Various April 2010
49. Artnet, Fred Stern, Picasso and the War
Year Retrieved 30 March 2011
50. Lorentz, Stanisław (2002). Sarah
Wilson, ed. Paris: capital of the arts, 1900–
1968. Royal Academy of Arts. p. 429.
ISBN 09-00946-98-9.
51. Rothenberg, Jerome. Pablo Picasso,
The Burial of the Count of Orgaz & other
poems. Exact Exchange Books, Cambridge,
MA, 2004, vii–xviii
52. Picasso the Playwright, Picasso's Little
Recognised Contribution to the Performing
Arts - with Images Retrieved April 2015
53. Françoise Gilot and Carlton Lake, Life
with Picasso, Random House. May 1989.
ISBN 0-385-26186-1; first published in
November 1964.
54. Pukas, Anna (December 1, 2010).
"Picasso's true passion" . Daily Express.
55. Witham, Larry, and Pablo Picasso
(2013). Picasso and the Chess Player:
Pablo Picasso, Marcel Duchamp and the
Battle for the Soul of Modern Art . Hanover
[u.a.]: Univ. Press of New England. p. 254.
ISBN 9781611682533.
56. O'Brian, Patrick (1994). Pablo Ruiz
Picasso: A Biography . New York: W.W.
Norton. p. 472. ISBN 0393311074
57. Filler, Martin (11 June 2009). "The Late
Show". The New York Review of Books 56
(10): 28-29.
58. Martin Filler says "the new constituency
for late Picasso had much to do with new
directions in avant-garde painting since his
death, which made many people look quite
differently at this startling final output."
"The Late Show". The New York Review of
Books 56 (10): 28-29.
59. Zabel, William D (1996).The Rich Die
Richer and You Can too . John Wiley and
Sons, p.11. ISBN 0-471-15532-2
60. Kimmelman, Michael (28 April 1996).
"Picasso's Family Album," . New York
Times. Retrieved 26 August 2010.
61. Philip Delves Broughton, "Picasso not
the patriot he painted", The Sydney Morning
Herald, 19 May 2003 . Retrieved 18 April
2016
62. Richardson, John (25 November 2010).
"How Political Was Picasso?". The New
York Review of Books, pp. 27–30.
63. "Picasso's commitment to the cause" .
Treasures of the World. PBS. 1999.
64. National Gallery of Victoria (2006). "An
Introduction to Guernica" . Retrieved 2 April
2013.
65. Eakin, Hugh (November 2000).
"Picasso's Party Line" . ARTnews. Vol. 99
no. 10. Archived from the original on 25
July 2011.
66. Ashton, Dore and Pablo Picasso (1988).
Picasso on Art: A Selection of Views. Da
Capo Press. p. 140. ISBN 0-306-80330-5.
67. "Pablo Picasso desairó a Salvador
Dalí" [Failed attempts at correspondence
between Dalí and Picasso] (in Spanish). La
República. 14 April 2006. Retrieved
14 February 2017.
68. "Study on Salvador Dalí" .
Monografias.com. 7 May 2007. Retrieved
26 August 2010.
69. "Article on Dalí in ',El Mundo'," .
Elmundo.es. Retrieved 26 August 2010.
70. Dannatt, Adrian (7 June 2010), Picasso:
Peace and Freedom. Tate Liverpool, 21 May
– 30 August 2010 , Studio International,
retrieved 14 February 2017
71. Rivera, Breton and Trotsky Retrieved 9
August 2010
72. Huffington, Arianna S. (1988). Picasso:
Creator and Destroyer. Simon and Schuster.
p. 390. ISBN 978-0-7861-0642-4.
73. David Hopkins, After modern art: 1945-
2000 (Oxford University Press, 2000), p.15.
ISBN 0-19-284234-X, ISBN 978-0-19-
284234-3
74. Picasso A Retrospective, Museum of
Modern Art, edited by William Rubin,
copyright MoMA 1980, p.383
75. Keen, Kirsten Hoving. "Picasso's
Communist Interlude: The Murals of War
and Peace". The Burlington Magazine, Vol.
122, No. 928, Special Issue Devoted to
Twentieth Century Art, July, 1980. p. 464.
76. "Pablo Ruiz Picasso (1881–1973) |
Picasso gets Stalin Peace Prize | Event
view" . Xtimeline.com. Archived from the
original on 19 March 2012. Retrieved
3 February 2012.
77. Berger, John (1965). The Success and
Failure of Picasso. Penguin Books, Ltd.
p. 175. ISBN 978-0-679-73725-4.
78. Charlotte Higgins (28 May 2010).
"Picasso nearly risked his reputation for
Franco exhibition" . The Guardian. UK:
Guardian News and Media.
79. On-line Picasso Project , citing
Selfridge, John, 1994.
80. McQuillan, Melissa. "Picasso, Pablo."
Grove Art Online. Oxford Art Online. Oxford
University Press, accessed February 1,
2014
81. Moskowitz, Clara (8 February 2013).
"Picasso's Genius Revealed: He Used
Common House Paint" , Live Science.
Retrieved 9 February 2013.
82. Rubin 1980, pp. 150–151.
83. Cirlot 1972, p. 164.
84. Cowling & Mundy 1990, p. 208.
85. Cirlot 1972, pp. 158–159.
86. Danto, Arthur (August 26/September 2,
1996). "Picasso and the Portrait". The
Nation 263 (6): 31–35.
87. Life 4 March 1940 "Picasso: Spanish
Painter's Big Show Tours the Nation" .
Retrieved 12 January 2017.
88. Hughes, Robert (8 June 1998). "The
Artist Pablo Picasso" . Time. Retrieved 12
January 2017.
89. [1] IMDB
90. "Picasso: Masterpieces from the Musée
National Picasso, Paris" . deYoung
Museum. Retrieved 24 July 2011.
91. "Art Gallery of New South Wales" .
Artgallery.nsw.gov.au. Retrieved
2014-07-17.
92. Artprice and AMMA. "The Art Market in
2015" (PDF). Retrieved 14 February 2017.
93. S. Goodenough, 1500 Fascinating
Facts, Treasure Press, London, 1987, p 241.
94. "Art Loss Register Lists Most Stolen
Artists" . ArtLyst. 28 January 2012.
95. "Frequently Requested Member
Artists" . Artists Rights Society. March
2015. Retrieved 14 February 2017.
96. "Picasso portrait sells for $95.2 million,
Today, Associated Press" . Retrieved 5 May
2006.
97. Vogel, Carol (9 March 2010). "Christie's
Wins Bid to Auction $150 Million Brody
Collection" . Nytimes.com. Retrieved
3 February 2012.
98. Adam Justice. "Picasso painting
smashes art auction record in $179.4m
sale" . International Business Times UK.
99. "Early Picasso work sells for record
$63.4M" . 20 June 2016.
100. Pablo Picasso, Femme Assise (1909),
43.269,000 GBP (Hammer Price with
Buyer's Premium), Sotheby's London, 21
June 2016
101. "Picasso Work Stolen By Nazi's Sells
for $45 Million at Auction", The Jerusalem
Post, May 17, 2017. [2] .

References
Becht-Jördens, Gereon; Wehmeier, Peter
M. (2003). Picasso und die christliche
Ikonographie: Mutterbeziehung und
künstlerische Position . Berlin: Dietrich
Reimer Verlag. ISBN 978-3-496-01272-6.
Berger, John (1989). The Success and
Failure of Picasso . Pantheon Books.
ISBN 978-0-679-72272-4.
Cirlot, Juan Eduardo (1972). Picasso,
Birth of a Genius . New York and
Washington: Praeger.
Cowling, Elizabeth; Mundy, Jennifer
(1990). On Classic Ground: Picasso,
Léger, de Chirico and the New
Classicism, 1910–1930 . London: Tate
Gallery. ISBN 978-1-85437-043-3.
Daix, Pierre (1994). Picasso: Life and
Art . Icon Editions. ISBN 978-0-06-
430201-2.
FitzGerald, Michael C. (1996). Making
Modernism: Picasso and the Creation of
the Market for Twentieth-century Art .
Berkeley: University of California Press.
ISBN 978-0-520-20653-3.
Granell, Eugenio Fernández (1981).
Picasso's Guernica: The End of a Spanish
Era . Ann Arbor, Mich.: UMI Research
Press. ISBN 978-0-8357-1206-4.
Krauss, Rosalind E. (1999). The Picasso
Papers . MIT Press. ISBN 978-0-262-
61142-8.
Mallén, Enrique (2003). The Visual
Grammar of Pablo Picasso . New York:
Peter Lang. ISBN 978-0-8204-5692-8.
Mallén, Enrique (2005). La sintaxis de la
carne: Pablo Picasso y Marie-Thérèse
Walter . Santiago de Chile: Red
Internacional del Libro. ISBN 978-956-
284-455-0.
Mallén, Enrique (2009). A Concordance
of Pablo Picasso's Spanish Writings .
New York: Edwin Mellen Press.
ISBN 978-0-7734-4713-4.
Mallén, Enrique (2010). A Concordance
of Pablo Picasso's French Writings . New
York: Edwin Mellen Press. ISBN 978-0-
7734-1325-2. Retrieved 8 October 2010.
Nill, Raymond M (1987). A Visual Guide
to Pablo Picasso's Works. New York:
B&H Publishers.
Picasso, Olivier Widmaier (2004).
Picasso: The Real Family Story . Prestel.
 ISBN 978-3-7913-3149-2.
Rubin, William (1981). Pablo Picasso: A
Retrospective . Little Brown & Co.
ISBN 978-0-316-70703-9.
Wattenmaker, Richard J. (1993). Great
French Paintings from the Barnes
Foundation: Impressionist, Post-
impressionist, and Early Modern . New
York: Alfred A. Knopf. ISBN 978-0-679-
40963-2.
Wertenbaker, Lael Tucker (1967). The
World of Picasso (1881– ) . Time-Life
Books.

External links
Wikimedia Commons has media related
to Pablo Picasso.

Wikiquote has quotations related to:

Picasso

Pablo Picasso at Encyclopædia

Britannica
Works by or about Pablo Picasso at
Internet Archive
Works by or about Pablo Picasso in
libraries (WorldCat catalog)
Picasso discography at Discogs
Picasso on IMDb
Picasso in American public collections,
on the French Sculpture Census website
Picasso ULAN Full Record Display.
Union List of Artist Names, Getty
Vocabularies. Getty Vocabulary
Program, Getty Research Institute (Los
Angeles, California)
Picasso at the Guggenheim Museum
Picasso at the Los Angeles County
Museum of Art (LACMA) (Los Angeles,
California)
Picasso at Metropolitan Museum of Art
(New York City, New York)
Picasso at the Museum of Modern Art
(MoMA) (New York City, New York)
Musée National Picasso (Paris, France)
 Museo Picasso Málaga (Málaga, Spain)
Museu Picasso (Barcelona, Spain)
Picasso at the National Gallery of Art
(Washington DC, USA)

Retrieved from
"https://en.wikipedia.org/w/index.php?
title=Pablo_Picasso&oldid=813123846"

Last edited 9 days ago by InternetAr…

Content is available under CC BY-SA 3.0 unless

otherwise noted.