Pablo Diego José Francisco de Paula Juan Nepomuceno María
de los Remedios Cipriano de la Santísima Trinidad Ruiz y
Picasso (25 October 1881 – 8 April 1973) was a
Spanish painter,
draughtsman, and
sculptor. He is one of the most recognized
figures in 20th-century
art. He is best known
for co-founding the
Cubist movement and for
the wide variety of styles embodied in his work. Among his most
famous works are the proto-Cubist
Les Demoiselles d'Avignon
(1907) and
Guernica
(1937), his portrayal of the German
bombing of Guernica during the
Spanish Civil War.
Picasso demonstrated uncanny artistic talent in his early years,
painting in a realistic manner through his childhood and
adolescence; during the first decade of the twentieth century his
style changed as he experimented with different theories,
techniques, and ideas. Picasso’s creativity manifested itself in
numerous mediums, including painting, sculpture, drawing, and
architecture. His revolutionary artistic accomplishments brought
him universal renown and immense fortunes throughout his life,
making him the best-known figure in twentieth century art.
Early life
Picasso was baptized Pablo Diego José Francisco de Paula Juan
Nepomuceno María de los Remedios Crispiniano de la Santísima
Trinidad, a series of names honouring various saints and relatives.
Added to these were Ruiz and Picasso, for his father and mother,
respectively, as per Spanish custom.
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. Picasso’s family was
middle-class; his father was also 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’. 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.
The family
moved to La
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,
Ruiz felt that the thirteen-year-old Picasso had surpassed him, and
vowed to give up painting.
In 1895, Picasso's seven-year old sister, Conchita, died of
diphtheria—a traumatic event in his life.
After her
death, the family moved to Barcelona
, with Ruiz transferring to its School of Fine
Arts. Picasso thrived in the city, regarding it in times of
sadness or nostalgia as his true home. 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 impressed jury admitted
Picasso, who was 13. The student lacked discipline but made
friendships that would affect him in later life. His father rented
him a small room close to home so Picasso could work alone, yet
Ruiz checked up on him numerous times a day, judging his son’s
drawings. The two argued frequently.
Picasso’s
father and uncle decided to send the young artist to Madrid’s
Royal Academy of San Fernando
, the country's foremost art school. In 1897,
Picasso, age 16, set off for the first time on his own, but he
disliked formal instruction and quit attending classes soon after
enrollment. Madrid, however, held many other attractions: the
Prado housed paintings by the venerable
Diego Velázquez,
Francisco Goya, and
Francisco Zurbarán. Picasso
especially admired the works of
El Greco;
their elements, the elongated limbs, arresting colors, and mystical
visages, are echoed in Picasso’s œuvre.
Career beginnings
After
studying art in Madrid, Picasso made his first trip to Paris
in 1900,
then the art capital of Europe. There, he met his first
Parisian friend, the 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 simply
Picasso, while before he
had signed
Pablo Ruiz y Picasso.
By 1905 Picasso became a favorite of the 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. 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, and Michael and Sarah Stein became patrons of
Matisse; while Gertrude Stein continued to collect Picasso.
In 1907 Picasso joined the art gallery that had recently been
opened in Paris by
Daniel-Henry
Kahnweiler. Kahnweiler was a German art historian, art
collector who became one of the premier French
Art dealers of the 20th century. He became
prominent in Paris beginning in 1907 for being among the first
champions of Pablo Picasso,
Georges
Braque and
Cubism.
Kahnweiler championed
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.
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. Apollonaire pointed to his friend Picasso, who was
also brought in for questioning, but both were later exonerated.
Personal life
In the
early 20th century, Picasso divided his time between Barcelona and Paris. In 1904, in the middle of a
storm, he met Fernande Olivier, a Bohemian artist who became his
mistress. Olivier appears in many of his Rose period paintings.
After acquiring fame and some fortune, Picasso left Olivier for
Marcelle Humbert, whom 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.
After
World War I, Picasso made a number
of important associations and 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,
Parade, in Rome; and they spent their
honeymoon in the villa near Biarritz of the glamorous Chilean art
patron
Eugenia Errázuriz.
Khokhlova introduced Picasso to high society, formal dinner
parties, and all the social niceties attendant on the life of the
rich in 1920s Paris. The two had a son, Paulo, 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 troup, he and
Igor Stravinsky collaborated on
Pulcinella in 1920. Picasso took
the opportunity to make several sketches 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, Maia, with her. Marie-Thérèse lived in the
vain hope that Picasso would one day marry her, and hanged herself
four years after Picasso’s death. Throughout his life Picasso
maintained a number of mistresses in addition to his wife or
primary partner. Picasso was married twice and had four children by
three women.
The 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.
War years
During the Second World War, Picasso remained in Paris while the
Germans occupied the city. Picasso’s artistic style did not fit the
Nazi views of art, so he was not able to show
his works during this time. Retreating to his studio, he continued
to paint all the while. Although the Germans outlawed
bronze casting in Paris, Picasso continued
regardless, using bronze smuggled to him by the
French resistance.
After the
liberation of Paris in
1944, Picasso began to keep company with a young art student,
Françoise Gilot. The two
eventually became lovers, and had two children together, Claude and
Paloma. Unique among Picasso’s women,
Gilot left Picasso in 1953, allegedly because of abusive treatment
and
infidelities. This was a severe blow
to Picasso.
He went through a difficult period after Gilot’s departure, coming
to terms with his advancing age and his perception that, now in his
70s, he was no longer attractive, but rather grotesque to young
women. A number of ink drawings from this period explore this theme
of the hideous old dwarf as buffoonish counterpoint to the
beautiful young girl, including several from a six-week affair with
Geneviève Laporte, who in
June 2005 auctioned off the drawings Picasso made of her.
Picasso was not long in finding another lover,
Jacqueline Roque. She worked at the Madoura
Pottery in Vallauris on the French Riviera, where Picasso made and
painted ceramics. The two remained together for the rest of
Picasso’s life, marrying in 1961. Their marriage was also the means
of one last act of revenge against Gilot. Gilot had been seeking a
legal means to legitimize her children with Picasso, Claude and
Paloma. With Picasso’s encouragement, she had arranged to divorce
her then husband, Luc Simon, and marry Picasso to secure her
children’s rights. Picasso then secretly married Roque after Gilot
had filed for divorce in order to exact his revenge for her leaving
him.
Picasso
had constructed a huge gothic
structure and could afford large villas in the south of France, at
Notre-dame-de-vie on the outskirts of Mougins, in the Provence-Alpes-Côte d'Azur
. By this time he was a celebrity, and there
was often as much interest in his personal life as his art.
In addition to his manifold artistic accomplishments, Picasso had a
film career, including a cameo appearance in
Jean Cocteau’s
Testament of Orpheus.
Picasso always played himself in his film appearances. In 1955 he
helped make the film
Le Mystère Picasso (The Mystery
of Picasso) directed by
Henri-Georges Clouzot.
Death
Pablo
Picasso died on 8 April 1973 in Mougins
, France, while he and his wife Jacqueline
entertained friends for dinner. His final words were
“Drink to me, drink to my health, you know I can’t drink any more.”
He was interred at the Chateau 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. Devastated and lonely after the death of Picasso,
Jacqueline Roque took her own life by gunshot in 1986 when she was
60 years old.
Children
Political views
Picasso remained neutral during
World War
I, the
Spanish Civil War, and
World War II, refusing to fight for any
side or country. Some of his contemporaries felt that his
pacifism had more to do with cowardice than
principle. An article in
The New
Yorker called him “a coward, who sat out two world wars
while his friends were suffering and dying”.
As a Spanish citizen
living in France, Picasso was under no compulsion to fight against
the invading Germans
in either World War. In the Spanish Civil
War, service for Spaniards living abroad was optional and would
have involved a voluntary return to the country to join either
side. While Picasso expressed anger and condemnation of
Francisco Franco and
fascists through his art, he did not take up arms
against them.
He also remained aloof from the Catalan
independence movement during his youth despite
expressing general support and being friendly with activists within
it.
In 1944
Picasso joined the French
Communist Party, attended an international peace conference in
Poland
, and in 1950
received the Lenin Peace Prize
from the Soviet government. But party criticism of a
portrait of
Stalin as insufficiently
realistic cooled Picasso’s interest in communist politics, though
he remained a loyal member of the Communist Party until his death.
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.”
His Communist militancy, not uncommon among intellectuals and
artists at the time although it was officially banned in Francoist
Spain
, has long been the subject of some controversy; a
notable source or demonstration thereof was a sarcastic quote
commonly attributed to Salvador
Dalí (with whom Picasso had a rather strained relationship),
ostensibly casting doubt on the true honesty of his political
allegiances:
- 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.)
He was against the intervention of the
United Nations and the United States in the
Korean War and he depicted it in
Massacre in Korea. In
1962, he received the
International
Lenin Peace Prize.
Art
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 (1905–1907), the
African-influenced Period
(1908–1909), Analytic
Cubism (1909–1912), and
Synthetic
Cubism (1912–1919).
In
1939–40 the Museum of
Modern Art
in New York
City
, under its director Alfred
Barr, a Picasso enthusiast, held a major and highly successful
retrospective of his principal works up 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.
Before 1901
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. 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. 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.”
In 1897 his realism became tinged with
Symbolist influence, 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
favorite old masters such as
El Greco, led
Picasso to a personal version of modernism in his works of this
period.
Blue Period
Picasso’s Blue Period (1901–1904) consists of somber paintings
rendered in shades of blue and blue-green, only occasionally warmed
by other colors. This period’s starting point is uncertain; it may
have begun in Spain in the spring of 1901, or in Paris in the
second half of the year. Many paintings of gaunt mothers with
children date from this period. In his austere use of color and
sometimes doleful subject matter—
prostitute 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
.
The same mood pervades the well-known etching
The Frugal Repast (1904), 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.
Rose Period
The Rose Period (1904–1906) is characterized by a more cheery style
with orange and pink colors, and featuring many circus people,
acrobat 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 model for sculptors and artists, in Paris
in 1904, and many of these paintings 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.
African-influenced Period
Picasso’s African-influenced Period (1907–1909) begins with the two
figures on the right in his painting,
Les Demoiselles d'Avignon,
which were inspired by African artifacts. Formal ideas developed
during this period lead directly into the Cubist period that
follows.
Cubism
Analytic
cubism (1909–1912) is a style of
painting Picasso developed along with
Georges Braque using monochrome brownish and
neutral colors. Both artists took apart objects and “analyzed” them
in terms of their shapes. Picasso and Braque’s paintings at this
time have many similarities. Synthetic cubism (1912–1919) was a
further development of the genre, 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.
Classicism and surrealism
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, and the artists of
the
New Objectivity movement.
Picasso’s paintings and drawings from this period frequently recall
the work of
Ingres.
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.
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.”
Guernica hung in New York’s
Museum of
Modern Art for many years. In 1981
Guernica was returned to Spain and exhibited at the
Casón del
Buen Retiro
. In 1992 the painting hung in Madrid’s
Reina Sofía Museum
when it opened.
Later works
Picasso
was one of 250 sculptors who exhibited in the 3rd Sculpture International held
at the Philadelphia Museum of Art
in the summer of 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
Velazquez’s
painting of
Las Meninas. He
also based paintings on works by
Goya,
Poussin,
Manet,
Courbet and
Delacroix.
He was
commissioned to make a maquette for a huge
-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 colorful and expressive, and from 1968 through 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. 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 that Picasso
had already discovered
neo-expressionism and was, as so often
before, ahead of his time.
Commemoration and legacy
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. At the time of his death many of his
paintings were in his possession, as he had kept off the art market
what he didn’t 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.
The
Museu
Picasso in Barcelona features many of Picasso’s early works, created
while he was living in Spain, including many rarely seen works
which reveal Picasso’s 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, Picasso’s close
friend and personal secretary.
Several paintings by Picasso rank among the
most expensive paintings in the
world.
Garçon à la
pipe sold for
USD $104
million at
Sotheby's on 4 May 2004,
establishing a new price record.
Dora Maar au Chat sold for
USD $95.2 million at Sotheby’s on 3 May
2006.
As of 2004, Picasso remains the top ranked artist (based on sales
of his works at auctions) according to the
Art Market Trends report.
(pdf) More of his paintings have been stolen than
those by any other artist.
The Picasso Administration functions as his official Estate. The
U.S. copyright representative for the Picasso Administration is the
Artists Rights Society.
Upon Picasso's death in 1973, actor
Dustin Hoffman was having dinner with former
Beatle
Paul McCartney and told him
about Picasso's last words. McCartney started creating and singing
a song around those words and included the song on his 1973 album,
Band on the Run.
In the 1996 movie
Surviving
Picasso Picasso is played by actor
Anthony Hopkins.
Notes
References
- Becht-Jördens, Gereon; Wehmeier, Peter M. (2003). Picasso
und die christliche Ikonographie. Mutterbeziehung und
künstlerische Position. Berlin: Dietrich Reimer Verlag. ISBN
3-469-01272-2
- Berger, John (1965). The Success and Failure of
Picasso. Harmondsworth: Penguin Books.
- 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 1-85437-043-X
- Daix, Pierre (1993). Picasso: Life And Art. Harper
Collins. ISBN 9780064309769
- FitzGerald, Michael C.
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.
- Eugenio Fernández Granell,
Picasso’s Guernica : the end of a Spanish
era (Ann Arbor, Mich. : UMI Research Press, 1981) ISBN
0835712060 9780835712064 9780835712064 0835712060
- Krauss, Rosalind (1998). The Picasso Papers. London:
Thames and Hudson. ISBN 0500237611
- Mallen, Enrique (2003). The Visual Grammar of Pablo
Picasso. Berkeley Insights in Linguistics & Semiotics
Series. New York: Peter Lang.
- Mallen, Enrique (2005). La Sintaxis de la Carne: Pablo
Picasso y Marie-Thérèse Walter. Santiago de Chile: Red
Internacional del Libro.
- Mallen, Enrique (2009). A Concordance of Pablo Picasso's
Spanish Writings. New York: Edwin Mellen Press.
- Nill, Raymond M. “A Visual Guide to Pablo Picasso’s Works”. New
York: B&H Publishers, 1987.
- Picasso, Olivier Widmaier. (2004). Picasso: The Real Family
Story. Prestel Publ. ISBN 3-7913-3149-3
- Rubin, William, ed. (1980) Pablo Picasso, a
retrospective. Chronology by Jane Fluegel. New York: The Museum
of Modern Art. ISBN 0-87070-519-9
- Wattenmaker, Richard J.; Distel, Anne, et al. (1993). Great
French Paintings from the Barnes Foundation. New York: Alfred
A. Knopf. ISBN 0-679-40963-7
- Wertenbaker, Lael (1967). The World of Picasso.
Time–Life Library of Art. Alexandria, Virginia: Time-Life
Books.
Artworks
External links
Museums
- Guggenheim Museum Biography
- Hilo Art
Museum, (Hilo Hawaii, USA)
- Honolulu Academy of Arts
- Metropolitan Museum of Art, New York
- Musée
National Picasso (Paris, France)
- Musée Picasso (Antibes, France)
- Museo Picasso Málaga (Málaga, Spain)
- Museu
Picasso (Barcelona, Spain)
- Museum Berggruen (Berlin, Germany)
- Museum of Modern Art (MoMA)
- National Gallery of Art list of paintings
- Graphikmuseum Pablo Picasso Münster (Münster,
Germany)
- Los Angeles County Museum of Art (LACMA), Los
Angeles, California
Essays