Pablo Picasso

Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, ceramicist and stage designer who is widely regarded as one of the most influential artists of the twentieth century. Born in Málaga, he spent most of his adult life in France and, with Georges Braque, co-founded Cubism, which broke with single-point perspective and reassembled objects into fragmented, multi-viewed forms. His output spans a remarkably wide range of styles, from the melancholy Blue Period and the warmer Rose Period to African-influenced figuration, Neoclassicism, Surrealism and late, gestural painting. His best-known works, including sculpture-adjacent experiments and paintings such as Les Demoiselles d'Avignon (1907) and Guernica (1937), are central to the history of modernism and the broader development of abstract-art.

Picasso's importance extends beyond stylistic invention. He pioneered collage and constructed sculpture, extended the vocabulary of printmaking and ceramics, and worked for the theatre and dance through his stage designs. Guernica, painted in response to the bombing of a Basque town during the Spanish Civil War, made him a symbol of anti-war art and remains a touchstone for political art in the twentieth century. His personal life, his relationships with women, his membership in the French Communist Party and his long afterlife in museums and auction markets have all become subjects of biography, criticism and debate.

This entry follows Picasso's career chronologically and then turns to his methods, his influence, the people around him and the institutions that preserve his legacy. It covers his training in Spain, the successive periods of his painting, the creation of Cubism and its later phases, his work in the theatre and in sculpture and ceramics, his political art, and the scholarship that has shaped how his work is understood today.

Early Life and Academic Training

Pablo Picasso was born in Málaga on 25 October 1881. His father, José Ruiz y Blasco, was a painter and drawing teacher who also worked as a curator at the city's museum. Ruiz y Blasco began teaching his son at about the age of seven and followed the common academic method of copying the old masters. In 1891 the family moved to A Coruña, where the father took a teaching post at the provincial art school and Picasso trained under him. A widely repeated but apocryphal story holds that the father, struck by his son's precision at about thirteen, resolved to give up painting himself.

The family's next move, to Barcelona in 1895, followed the death of Picasso's younger sister Conchita from diphtheria. The father had been appointed to teach drawing at La Llotja, the city's school of fine arts, and the son enrolled there that autumn, when he was thirteen. Entry to the advanced class was normally slow and reserved for older students, but Picasso's entrance examination was completed within a week and the jury admitted him. He was placed in the classical and still-life section, where the curriculum emphasised plaster casts, anatomy and academic drawing. He resented its formality and often skipped lessons to sketch the streets of the old town. In 1896 he shared a studio with the painter Manuel Pallarès, and in 1897 his painting Science and Charity, for which his father posed, received an honourable mention at a national exhibition in Madrid. That year he also entered the Royal Academy of San Fernando in Madrid, the country's leading art school, before leaving it and returning to Barcelona.

Back in Barcelona, Picasso became part of the city's modernist scene. After a stay in Horta de Sant Joan in 1898–1899, he began frequenting Els Quatre Gats, a café opened in 1897 in the Casa Martí and founded by Pere Romeu on the model of Paris's Le Chat Noir. The café became a meeting point for figures associated with Catalan modernism, among them Ramon Casas and Antoni Gaudí. Romeu saw potential in the young artist and commissioned him to produce graphic work, including a drawing for the café's menu. The design reflects the influence of Art Nouveau and the bold, simplified posters of Toulouse-Lautrec. In February 1900 Picasso staged his first solo show at the café: a gallery of portraits, mostly drawings, of Catalan artists and writers. Sources differ on the number, giving roughly one hundred in one account and about 150 in another. The show was widely read as a challenge to the established Ramon Casas, who was himself a leading figure of the café circle.

Later in 1900 Picasso travelled to Paris for the first time, for the Exposition Universelle. The trip was the first of several visits to France in the early years of the century, and it was accompanied by his friend Carles Casagemas. One of the three oil paintings in the café show, Last Moments, was selected for the fair. Its mix of a sombre subject and a symbolist-inflected mood points to the tension that runs through this phase: his graduates' academic realism sat beside a growing interest in the decadent and symbolic imagery then current in European art. He later painted over Last Moments in 1903 as La Vie, an allegorical work that again features Casagemas. The fluctuation between academic training, Catalan modernist sociability and Parisian ambition set the pattern for the years that followed, when he moved between Spain and France before settling permanently in Paris in 1904.

The Blue Period (1901–1904)

The Blue Period takes its name from the dominant palette of blue and blue-green tones that Picasso used across paintings, drawings and prints of these years. The colour is rarely total. Some canvases bring in grey, ochre or a small amount of warmer tone, but blue usually sets the mood of the whole picture, and the palette thins out by about 1904 as the work moves toward the warmer colours of the next phase.

Its characteristic subjects are the people at the edge of urban life. Picasso painted beggars, the blind, the elderly, impoverished mothers and children, drinkers and solitary figures who are often shown hunched, huddled or withdrawn. Works such as The Old Guitarist (1903–1904), now in Chicago, and The Tragedy (1903) combine a restrained composition with elongated bodies and an emphasis on gesture and pose. The figures are often set in shallow, almost empty spaces, which intensifies their isolation. Critics have long read these images as expressions of social hardship, and Picasso's own circumstances during these years, including poverty and an unsettled life, are often cited alongside them.

The death of his close friend Carles Casagemas is commonly cited as a catalyst for the tone of the period. Casagemas, a fellow painter from Barcelona who had followed Picasso to Paris, shot himself in a Montmartre café in February 1901 after an unhappy love affair. Picasso responded with a number of works about the death, including a painting of the friend's funeral. The link between this event and the wider blue palette is widely discussed but not settled. Some scholars treat it as a central emotional source, while others stress that the mood also reflects Symbolist currents, the influence of artists such as El Greco and Toulouse-Lautrec, and the broader visual culture of fin-de-siècle Paris.

The period is also marked by constant movement. Picasso worked in Barcelona, where he had trained and where he knew the avant-garde circles around Els Quatre Gats, and in Madrid, where he spent time in 1901 on a short-lived art magazine. He also made repeated trips to Paris, where he showed work in 1901 and where the art market and the most important collectors and critics were based. Over these years Paris gradually replaced Barcelona as the centre of his practice. By 1904 he had settled there for good, and the move marks the end of the blue works and the beginning of the Rose Period.

Spain and Paris are the two poles of this phase. Picasso's shift between them shaped both the subject matter of the paintings and the audience for which he made them. The Blue Period also set a pattern that recurs in his later career: a single emotional register, applied to a limited set of motifs, and reworked across many drawings and canvases before the artist moved on to a new palette and a new cast of figures.

The Rose Period and the Move to Paris (1904–1906)

By 1904 Picasso had settled in Paris, taking a studio in the Bateau-Lavoir, a dilapidated building at 13 rue Ravignan in Montmartre. The building was home to bohemian poets, writers and young painters, and the company offered a social world that his years of poverty had not. Among the people he met there was Fernande Olivier, whom he came to know in 1904 and who was living with him by the following year. Their relationship lasted about seven years and was turbulent. Olivier later recorded that Picasso's jealousy kept her largely confined to their home, and she appears in many paintings of this period.

The palette moved away from the cold blues and blue-greens of the Blue Period toward warmer pinks, oranges, reds and earth tones. The subjects changed as well. Where the earlier work dwelt on poverty and isolation, the Rose Period turned to circus life, with acrobats, jesters, harlequins and travelling performers, known in French as saltimbanques. From the latter half of 1904 through 1905, Picasso drew, etched and painted many figures and small groups of these performers, and they became the main subjects of his output. The mood is lighter than before, but the imagery is not simply festive: many performers appear withdrawn, resting or waiting, set against sparse landscapes or empty backgrounds.

The harlequin, a figure in checkered costume, became a personal emblem for Picasso. He returned to the character repeatedly, and it can be read as a stand-in for the artist himself, an outsider performing for an audience. The motif is one of the continuities that link this period to his later work.

Picasso's most important early patrons were the American writer Gertrude Stein and her brother Leo. In 1905 Leo bought a Picasso canvas from a dealer, and the siblings became his principal patrons for roughly nine years. Their purchases provided income when Picasso was still struggling, and their Paris salon introduced him to a wider circle of avant-garde artists, including Henri Matisse. Picasso's portrait of Gertrude Stein, begun in 1905 and completed the following year after many sittings, is a transitional work. Its brown, sombre colouring and angular face point toward Cubism, and Stein later wrote that the Rose Period ended with her portrait.

The largest and most ambitious work of the period is Family of Saltimbanques (1905), a canvas of about 2.1 by 2.3 metres showing six performers in a barren landscape. It is generally regarded as the culmination of the Rose Period, and its composition recalls the work of Gustave Courbet and Édouard Manet. The painting, which now belongs to the National Gallery of Art in Washington, D.C., shows the theme at its most monumental, with the figures grouped in a way that suggests a shared but unsettled existence.

Iberian and African Influences

The years 1906 and 1907 mark a break from the Rose Period's soft, circus-centred imagery toward a harsher, more simplified figure. The first major source was Iberian sculpture. In 1906 the Louvre opened a gallery of pre-Roman Spanish material, and the stone heads from Cerro de los Santos, a sanctuary site in Albacete, were among the pieces Picasso encountered there. The Louvre's newly inaugurated Iberian gallery introduced the public to material culture of pre-Roman Spain, only recently unearthed in the southeast of the peninsula. Those statuettes were part of a large group of sculpted heads, busts and seated female figures recovered in 1871.

That summer he worked in the Pyrenean village of Gósol, where the sources differ on the length of his stay. One account puts it at almost three months, during which he produced more than 300 paintings, drawings and sculptures; others describe a stay of several weeks. The Gósol works combine Iberian archaism with local sculptural traditions, and the studies blend archaism and Romanesque art from the 12th century. The clearest transfer of this vocabulary into a major painting is the 1906 portrait of Gertrude Stein. While keeping her likeness, the face takes on the schematic treatment of an Iberian relief and the heavy-lidded eyes that recur in that art.

The change was not only one of surface motif but of structure. The figures from the Gósol period are heavier and more block-like than the slender acrobats of 1905, and the female nudes approach almost geometric form. Iberian and Romanesque faces also became a model for simplifying the head into a few planes instead of modelling it in light and shadow. In the later Paris paintings, the increasing deformation and fragmentation of the figure that began in these works prepared the ground for Cubism. This is why the period is often treated as a hinge between his early naturalistic training and the spatial experiments that followed.

African art entered his work through a parallel and overlapping interest. Around 1906, Picasso, Matisse, Derain and other artists in Paris had acquired an interest in primitivism, Iberian sculpture, African art and tribal masks, partly because of the prominence Gauguin's work had gained in Paris avant-garde circles. Picasso's engagement was concrete. He spent an October 1906 evening closely studying a Teke figure from Congo then owned by Matisse. He also visited the ethnographic collections in Paris. When he visited the African collection he described the African masks as "magic objects" and revised the final version of his painting due to their influence. Sources on the timing and museum differ: one describes the decisive encounter at the Trocadéro, where the then 24-year-old Picasso truly experienced a "revelation" as he explored African art further.

Assessing how decisive African art was remains contested, partly because of Picasso's own statements. He consistently acknowledged Iberian sources, and he long acknowledged the importance of Spanish art and Iberian sculpture as influences on the painting. In contrast, the work is believed by critics to be influenced by African tribal masks and the art of Oceania, although Picasso denied the connection, and historians have remained skeptical of those denials. Scholars therefore tend to describe the two sources as operating side by side rather than as one clear cause.

These influences converge in Les Demoiselles d'Avignon (1907), which was the product of months of work. The painting changed dramatically over several months, as Picasso produced hundreds of preparatory sketches and studies. Its sources were broad: he engaged with artistic sources ranging from European paintings to African, Iberian, and Oceanic sculptures that had entered French collections through colonial channels. The left-hand figures are usually linked to Iberian sculpture, with rounded contours of the features of the three women to the left that can be related to Iberian sculpture, while the faces on the right are read as evoking masks. The canvas was shown in a very restricted way at first, when Picasso presented it in 1907 to some close friends, and also artists. Its present title is associated with a later exhibition, around the time of the 1916 exhibition, which is why the work spent its early years largely out of public view.

The painting's position at the boundary between colonial-era collecting and avant-garde experiment is a central theme in later scholarship. As the sources of the 1906–1907 forms have been reassessed, the role of the colonial circumstances in which these objects were collected has become part of the analysis, as discussed in the scholarship section.

Co-founding Cubism and Analytic Cubism (1908–1912)

Picasso's formal break in these years came out of a close working relationship with Georges Braque, whom he met in late 1907. Their shared starting point was the late work of Paul Cézanne, whose reduction of nature to solid geometric volumes gave the two painters a vocabulary to extend. The phase that later historians named Analytic Cubism takes its label from the dissection of form and space that the two artists carried out, and it was built on Cézanne's example as well as on Georges Seurat's formal innovations. Analytic Cubism (referring to the "analysis" or "breaking down" of form and space), developed under the influence of Paul Cézanne's and Georges Seurat's formal innovations.

The public history of the style began with Braque's landscapes from L'Estaque. In 1908 the Salon d'Automne jury turned down six of Braque's L'Estaque paintings. Braque displayed twenty-seven works in a one-man show at Kahnweiler's gallery that November, and this exhibition gave French audiences their first sight of what would become known as Cubism. Matisse had described one of the rejected paintings as a picture of little cubes, a remark that the critic Louis Vauxcelles repeated in print. In a review published November 14, 1908, Vauxcelles remarked that Braque "despises form and reduces everything, landscapes and figures and houses, to geometric patterns, to cubes." In March 1909 Vauxcelles returned to the subject, calling the works "cubic oddities" in his review of the Salon des Indépendants, and that review is generally treated as the first press use of the word "cubism" itself. The term was thus applied to the style, not invented by the artists, and it was first used in a review of Braque's work.

Formally, the analytic phase replaced the single, fixed viewpoint with a fragmented image. Figures and objects were dissected or "analyzed" into a multitude of small facets, which were then reassembled, after a fashion, to evoke those same figures or objects. By the period from roughly 1910 to 1912, the subject of a picture was often hard to recover, since the forms had been reduced to a series of overlapping planes and facets mostly in near-monochromatic browns, grays, or blacks. The palette was a deliberate choice: the artists regarded bright colour as an element that distracted from the structure they were analysing. Picasso and Braque used the shifting, overlapping planes to show a single object from several angles at once, so that the viewer assembled the object over time rather than seeing it all at once. The years 1909-1912 saw the development of Analytical Cubism, as Picasso and Braque fragmented objects into increasingly complex geometric facets, using predominantly ochre, gray, and brown palettes.

The two painters worked so closely that their output became hard to separate. From 1908 to 1914, Picasso and Braque worked in close collaboration, sometimes visiting each other's studios daily, developing Cubism through intensive experimentation. In this phase they often worked in similar styles, making their paintings difficult to distinguish. The problem reached its peak in the summer of 1911, when the two painted side by side in Céret, in the French Pyrenees, and each artist producing paintings that are difficult—sometimes virtually impossible—to distinguish from those of the other. For this reason, many works from 1909 to 1912 are still catalogued with uncertain authorship, and the question of how credit should be divided between the two men remains a recurring topic in Cubist scholarship. By 1912 the analytic approach had reached its limits, and the two artists began to introduce pasted paper and other found materials into their compositions, which led to the next phase of their work.

Synthetic Cubism, Collage and Constructed Sculpture (1912–1919)

From 1912, Picasso's work moved away from the nearly monochrome, fragmented surfaces of analytic Cubism and toward a phase that brought back recognisable objects, lettering and real materials. The emblematic work of this turn is Still Life with Chair Caning. Sources date it to 1911–12 or to spring 1912. The chair-caning pattern is not painted but comes from a sheet of commercially printed oilcloth, glued to an oval canvas and framed by a length of rope. Picasso had attached found objects to canvases before, but here the gesture is deliberate and playful, and the work is widely treated as the first modern collage, although its exact chronology remains debated. A newspaper fragment with partial lettering, the title of Le Journal, adds a further layer of real-world text to the picture.

Synthetic Cubism is less concerned with dismantling a motif into facets than with building an image from flat signs and planes that the viewer can read at a glance. Its surfaces are more varied in texture, and it draws on pasted elements and a broader range of subjects. Papier collé, literally "glued paper," became the central method: Picasso cut paper, pasted it onto the support, and combined it with oil or charcoal drawing so that the viewer sees a sheet of paper, not an illusion of one. Georges Braque is generally credited with the initial invention of the technique, and the rivalry and exchange between the two men shaped its rapid development. Colour became freer in many works, though restraint persisted; Guitar and Sheet of Music (1912), for example, relies mainly on brown, white and blue.

The Guitar series shows how these methods carried over into three dimensions. In 1912 Picasso assembled a guitar from cardboard, paper, string and wire, cutting, folding, threading and gluing the materials, and in 1914 he reworked the same idea in more durable sheet metal. Instead of modelling a solid mass, as traditional sculpture did, he treated the instrument as an open structure of planes. The 1914 version has no solid core and is open to surrounding space, so its volume is suggested through the interplay of planes rather than depicted as mass. The shift from carving or modelling to assembly is one of the earliest decisive breaks in twentieth-century sculpture, and the sheet-metal guitar brought the logic of the papier collé into a constructed object. Picasso later gave both versions to the Museum of Modern Art in New York, which now holds them as key works of this period.

Ballets Russes, Neoclassicism and Stage Design (1917–1925)

Picasso's work for the stage was concentrated in the years around the First World War. The entry point was Ballets Russes impresario Sergei Diaghilev, whom Jean Cocteau, who was writing the scenario for Parade and was the artist's neighbour in Rome, introduced to Picasso. The first result was Parade. Cocteau wrote the scenario, Erik Satie composed the score and Léonide Massine choreographed the work, which premiered on 18 May 1917 at the Théâtre du Châtelet in Paris. Picasso's part was extensive: he designed the curtain, sets and costumes. The production was built on contrasts. The set was Cubist, while the stage curtain showed a neoclassical style. Satie's score also used unconventional sounds, including a typewriter, a pistol, a steamship whistle and a siren. The premiere was hostile, and it provoked a larger disturbance than Stravinsky's The Rite of Spring had four years earlier.

Picasso's later ballet work followed the same logic of combining older forms with modern design. He contributed to ten ballet productions, six of them for the Ballets Russes. Between 1917 and 1924 his involvement was most intense in four productions, including Parade, The Three-Cornered Hat (1919), Pulcinella (1920) and Mercure (1924). He joined the Pulcinella project in December 1919, and after several rejections from Diaghilev, he chose a night street scene in which Naples was depicted according to Cubist principles, overlooking Vesuvius. The costumes drew on eighteenth-century dress and Neapolitan folk traditions. The ballet's music was Stravinsky's arrangement of material attributed to Pergolesi, and it premiered at the Paris Opéra on 15 May 1920, with Massine as the central dancer who also wrote the libretto and choreography. Its characters derive from the 16th-century Italian commedia dell'arte tradition, which Picasso's designs presented as traditional commedia dell'arte images placed within a cubist design. Picasso's involvement with Mercure in 1924 marked a further break, since he worked on it outside the Ballets Russes for the first time, designing the décor and costumes.

The sets of these years show two visual vocabularies operating together. Cubist planes and fragmentation remained in the stage design, even as the figures on stage and in the painted portraits became more classical. These theatre commissions coincided with Picasso's move away from the Cubist style, but the transition was gradual rather than a clean break. The same period saw him painting Cubist-based works and classical figure studies at once, which is why the years 1917 to 1925 are often read as a period of stylistic coexistence rather than a single new manner.

Picasso's personal life ran in parallel with this work. He first met Olga Khokhlova in Rome in the spring of 1917, when he was designing the sets and costumes for Parade. She was a dancer who had joined the Ballets Russes in 1911. The couple married on 12 July 1918 in the Russian Orthodox cathedral on the rue Daru in Paris, with Cocteau, Max Jacob and Guillaume Apollinaire as witnesses. Khokhlova became his most frequently painted model from the late 1910s, and he first portrayed her with thin, elegant lines that show the influence of Ingres. The wider shift toward classical figures is often linked to her presence. Picasso is said to have returned to a classical manner partly because his wife wanted to recognise herself in the portraits. Many of these works present her in a pensive, composed mood, a contrast to the fragmented figures of the prewar years.

The theatre work that began in 1917 did not continue on the same scale. Picasso did not design for the theatre again until 1946, when he produced a curtain for a production by Roland Petit. For the 1917–1925 period, the stage designs remain one of the clearest records of how Cubist structure and neoclassical figure painting coexisted in his practice, and how collaboration with writers, composers and choreographers influenced his visual decisions.

Surrealism and the 1920s–1930s

Picasso's dealings with Surrealism were gradual and never wholly exclusive. The movement's manifesto appeared in 1924, and by 1925 Picasso was regarded as having aligned himself with the group around the poet André Breton, who had become its leading voice. Picasso valued the movement's license for distortion. Surrealist theory, rooted in ideas about dreams and the unconscious drawn from psychoanalysis, gave him a rationale for figures that were fragmented, violent and sexually charged, and for a biomorphic handling of the body that departed from the naturalism of his earlier Neoclassical work. Surrealist circles did not fully absorb him, however. Picasso kept his distance from the group's doctrines while maintaining close personal friendships with many of its members.

The clearest public marker of this relationship was the magazine Minotaure, launched in Paris in June 1933 under Albert Skira and E. Tériade, with Breton and Pierre Mabille among its editors. Picasso designed its first cover, a collage-based composition that drew on the classical drawing and found-object techniques he had developed in earlier years. The choice reflected the Surrealist fascination with the Minotaur, the Cretan monster of Greek mythology that is half man and half bull. For Picasso, the figure became an allegory of the artist: a creature divided between animal appetite and human vulnerability. Its earliest appearance in his work dates from 1928, and it recurs across the 1930s as a stand-in for himself.

The Minotaur is also central to the Vollard Suite, a group of one hundred etchings made for the dealer and publisher Ambroise Vollard. Work began in 1930 and continued until 1937, and the prints were not published until 1939. The series uses aquatint, drypoint and burin, and it moves through distinct registers. In some plates the Minotaur appears as a violent, sexual figure, a rapist and devourer of women. In others, the creature becomes blind, impotent and pitiable, led through the night by a young girl whose features resemble Marie-Thérèse Walter. Scholars often read these shifts as a record of Picasso's changing emotional state, including his growing dissatisfaction with his marriage to Olga Khokhlova. The etchings also return to classical subjects such as the sculptor in his studio, giving the Surrealist interest in the irrational a Neoclassical frame. The suite's classical discipline is therefore one of the features that sets it apart from the more overtly dreamlike painting of the period.

Two women shaped the formal and emotional range of the 1930s. Marie-Thérèse Walter, whom Picasso met in 1927 when she was seventeen, inspired a burst of work in 1932, including sculptures and paintings with curving, rounded forms, and later gave birth to their daughter Maya in 1935. Picasso modelled many of his plaster busts of her at the Château de Boisgeloup, which he had bought in 1930. In 1935 the photographer Dora Maar, introduced to him by the poet Paul Éluard, entered his life. Maar was active within Surrealist exhibition circles in Paris, and her own dreamlike, psychologically charged photographs connected her to that milieu. Their relationship became central to Picasso's work in the later 1930s, and portraits of Maar, including Weeping Woman (1937), show distorted faces and fragmented anatomy. Picasso's relationship with Walter continued in parallel, and the two women are sometimes merged within single images. These affairs, and the emotional tensions they created, are one of the reasons the period's imagery is so charged and so often violent.

Guernica and the Spanish Civil War (1936–1937)

After the Spanish Civil War broke out in July 1936, the Republican government named Picasso, who was living in Paris, as director of the Prado. A government decree passed on 19 September 1936 named Pablo Picasso as the head of the Prado. He never went to Madrid to take up the post, and he had last visited Spain in 1934 and would never return. The appointment was therefore largely symbolic, but it tied his public identity to the Republican side. He also produced anti-Franco propaganda in 1937: the eighteen-scene print series The Dream and Lie of Franco, sold as postcards to raise funds for the Republic.

In January 1937 the Republican government asked Picasso for a large mural for its pavilion at the Paris International Exposition, a work meant to raise awareness of the war and raise necessary funds. Picasso's first sketches still reflected his usual studio themes. The turn to the bombing came after the 26 April 1937 bombing of Guernica, a town in the Basque Country in northern Spain, by Nazi Germany's Condor Legion and the fascist government of Italy. The poet Juan Larrea reportedly visited Picasso's home soon after the news arrived and urged him to take the bombing as his subject. The painting is dated 1 May to 4 June 1937, made in Paris. The work was made in his studio on the rue des Grands-Augustins.

The finished canvas is restricted to grey, black and white and measures 3.49 meters (11 ft 5 in) tall and 7.76 meters (25 ft 6 in) across. Its main figures include a gored horse, a bull, screaming women, a dead baby, a dismembered soldier, and flames. Although Picasso had studied press photographs of the bombing, the picture does not name a specific event; it was conceived as a universal plea against the brutality and terror of war. Its structure also draws on older pictorial traditions and on Picasso's own earlier etchings, which gives it a late-Cubist and Surrealist character. Reactions were divided from the start. The work received mixed reviews when it was shown at the world's fair in Paris, but it became an icon as it traveled the world in ensuing years. Its emotional force, and its reading as a political statement against fascism, grew as the painting was seen abroad. The pavilion opened on 12 July 1937.

After the exposition, the painting toured widely to support the Republican cause. The Spanish Republic toured Guernica throughout Scandinavia and England to raise awareness and funds for their cause. It then crossed to the United States, where its showings benefited the Spanish Refugee Relief Committee. When the Republic fell in 1939, Picasso refused to let the work return to Spain while Franco ruled. With war threatening Europe, he loaned Guernica to the Museum of Modern Art (MoMA) in New York, which toured the painting throughout the United States and elsewhere for nearly 20 years after. In 1958 he extended the loan to MoMA for an indefinite period, until such time that democracy had been restored in Spain. He died in 1973, two years before Franco, and so never saw the painting come back.

The painting's return followed Franco's death in 1975. MoMA reluctantly gave up the treasure after years of negotiation. In 1970 Picasso had already written to the museum asking that the work go back to Spain "when public freedoms are restored in Spain". The painting arrived in 1981 and was first housed in the Casón del Buen Retiro, an annex of the Prado, where it stayed until 1992. It was then moved to the Reina Sofía, Spain's national museum of modern art, and no longer travels for conservation reasons. Its exile and return remain closely tied to the transition to democracy in Spain, and the work is widely seen today as an important symbol of Spain's freedom.

Politics, Peace and Communism (1944–1960s)

Picasso's political identity became public after the Second World War. In 1944, shortly after the liberation of Paris, he joined the French Communist Party (PCF), and he kept his membership until his death in 1973. Accounts of the move describe it as a gesture of solidarity with a party that had been prominent in the Resistance, and it gave his celebrity a role inside the party's cultural activity. He was not a conventional party artist. He rejected the socialist realism that the party favoured, and his work continued to draw on modernist vocabulary, which made some party critics uneasy.

His most widely circulated political image is the dove. In January 1949 he made a lithograph of a bird in his printer Fernand Mourlot's Paris studio. It developed from a fan-tailed pigeon that Henri Matisse had given him, and the poet Louis Aragon, a PCF supporter, visited the studio and chose the image for the poster of the World Peace Congress held in Paris that April. The same month, his partner Françoise Gilot gave birth to their daughter Paloma, whose name is the Spanish word for dove. Over the following years Picasso supplied variations on the motif for congresses in Wrocław, Stockholm, Sheffield, Vienna, Rome and Moscow. The image was intended as a universal emblem of peace, but it was also read as a symbol of the Communist-led peace movement, and this double reading became a lasting part of its reception. The Soviet Union honoured him with the International Stalin Peace Prize in 1950 and with the Lenin Peace Prize in 1961, after the award had been renamed.

Picasso's response to the Korean War took the form of a large canvas, Massacre in Korea (Massacre en Corée), completed on 18 January 1951. Oil on plywood, measuring 110 by 210 centimetres, it shows women and children, some of them pregnant, facing a firing squad. Its visual sources include Goya's The Third of May 1808, and it stands alongside Guernica and The Charnel House as one of his explicitly anti-war images. Interpretation of the subject remains contested. Some critics read it as a condemnation of American conduct, and the art critic Kirsten Hoving Keen linked it to reports of American atrocities. Other accounts connect it to the Sinchon massacre, which is attributed to anti-communist forces, and which is itself disputed. Its reception was muted at the time. It attracted little response, and it was largely passed over in the United States, within the Comintern and among French communist allies, a neglect that later scholarship has examined.

Political controversy also surrounded commissions that touched on Stalin. After Stalin's death in March 1953, Aragon, then editor of the communist-leaning newspaper Les Lettres Françaises, commissioned Picasso to paint a portrait of him. The result, based on an old photograph of Stalin as a younger man, did not match the official image of the leader as a benevolent paternal figure, and PCF members took offence at it. The episode crystallised a wider debate about whether Picasso's loyalty to the party determined the content of his work, or whether his painting pursued its own formal and expressive logic. Critics on the left and right have disagreed on this question, and his dealer Daniel-Henry Kahnweiler, who described him as the most apolitical man he had known, is often cited in discussions of how far his public commitments reflected his temperament. The tension between his political commitments and his artistic independence is a central theme in later assessments of this period.

Printmaking, Ceramics and Sculpture after 1946

Picasso spent much of the postwar years on the Mediterranean coast of France. In the summer of 1946 he worked for about two months in a studio on the upper floor of the Château Grimaldi in Antibes. The works he made there, 23 paintings and 44 drawings, were given to the town and later formed the core of the museum that now occupies the château. Museum collections of this kind became one of the ways his postwar work was preserved and shown.

In the same summer he visited the annual pottery fair at nearby Vallauris, where he met Suzanne and Georges Ramié, who ran the Madoura workshop. He modelled a few small clay pieces there and began working at the workshop in the autumn of 1947. In 1948 he settled in Vallauris, where he lived until 1955. The Ramiés gave him wide access to their materials and technical knowledge, and he learned the basic techniques of clay modelling, firing and glazing quickly. He then used the workshop to test the limits of the medium. He was drawn to the workshop's broken fire bricks and pottery shards, which he reworked into new forms rather than discarding them.

The ceramic output was large. Picasso decorated thousands of vessels, dishes, plates and jugs, many of them based on traditional regional and folk shapes, with painted motifs such as birds, fish, bulls, goats, faces and mythological figures. Editions produced at Madoura from 1947 to 1971 were made under his direction, while one-off pieces were modelled, incised and painted in the studio. Estimates of his total ceramic output over roughly two decades run to around 4,000 original works. The pottery also showed how he treated a single object as a surface that could carry painted imagery, so that the forms of the vessel and the figure were interwoven.

Printmaking remained a central practice throughout this period. The Bull series of lithographs, made in the mid-1940s, reworked one animal motif through a sequence of successive states, each proof recording a stage of simplification. In Vallauris he also turned to linocut, and in 1954 he developed the reduction method, in which a single block is cut back between printings so that each colour removes material from the previous one.

His sculpture from these years continued the practice of assembling found objects. In the yard next to his Vallauris studio, where potters discarded debris, he collected pieces of metal and ceramic. For She-Goat (1950, cast in bronze in 1952), he built a skeleton from these materials: a wicker basket forms the rib cage, two ceramic jugs serve as udders, flat palm fronds shape the spine and snout, and metal scraps act as structural units, with the armature then filled out in plaster. The bicycle seat and handlebars more often associated with his assemblage belong to the earlier Bull's Head of 1942. Works such as Baboon and Young (1951), which uses a pair of toy cars for the head, show the same method of adapting everyday objects into figures.

Late Work and Final Years (1950s–1973)

The Las Meninas series (1957)

In the second half of 1957, Picasso worked through Diego Velázquez's Las Meninas (1656) in a long run of studio variations. The series is usually counted as 58 paintings. Most of them are reworkings of the original composition, and the rest include dove scenes, landscapes and a portrait of his second wife, Jacqueline. Picasso did not reproduce the Spanish master's canvas. He moved figures, changed the light and reconsidered the spatial relations between them, so each version became a fresh analysis of the same arrangement. He had already argued, in a 1950 remark to Jaume Sabartés, that any faithful copy of the picture would drift into his own version once its figures and light were adjusted. The series also reflects his wider habit of reinterpreting Old Masters, with Édouard Manet as another reference point. Picasso gave the complete group to the Museu Picasso in Barcelona in May 1968, in memory of Sabartés, who had died that year, and it remains there as a single ensemble.

Late paintings, prints and self-representation

Picasso's work of the 1960s and early 1970s became looser, more gestural and more openly disruptive in its handling of the figure. Printmaking remained central to his practice. In the 1968 Suite 347, a series of etchings and engravings, he used the bawd Celestina as a kind of voyeuristic stand-in for himself, continuing a self-figure he had used in earlier decades. His late drawings of reclining nudes recycle the odalisque, a subject from the nineteenth-century Orientalist repertoire, and treat the body with crude, deliberately unidealised marks. Illness did not halt this output. A stomach operation in 1965 required about a year of convalescence, yet production continued afterward at a steady rate.

Jacqueline Roque occupied a central place in this later work. Picasso first met her in Vallauris in the summer of 1952 and recorded her distinctive features in hundreds of works made between 1954 and 1972. The couple married in Vallauris on 2 March 1961. Her portraits range from precise, linear drawings to bold, simplified prints and painted ceramics, and the late portraits show the same mixture of intimacy and formal experiment that marks the rest of his final decade.

Mougins and the last residences

Picasso's domestic and working life in the final period moved between several properties. In 1958 he bought the Château de Vauvenargues, after leaving a retreat near Mougins that was becoming surrounded by new development. In 1961 he had acquired a farmhouse called Notre-Dame-de-Vie, also near Mougins. After his operation in 1965, he and Jacqueline returned to the south of France and settled in Mougins, a small town in the hinterland behind Cannes and close to Vallauris. Notre-Dame-de-Vie became one of his last workshops and his final residence. There he continued to paint, draw and make prints, and the studio's work shows a sustained engagement with the Mediterranean setting and the artist's own circle.

Death and burial

Picasso died on 8 April 1973 at his home in Mougins, France, at the age of 91. Accounts of his final hours describe Jacqueline calling his Paris cardiologist early in the morning after a very bad night. He was buried on 10 April 1973 in the park of the Château de Vauvenargues, the estate he had bought fifteen years earlier. His death closed the last phase of a career that had spanned more than seven decades and had moved between Spain and Paris.

Working Methods and Media

Picasso often returned to a single subject and reworked it across many drawings, paintings and prints, so that one motif could generate a long sequence of related images. The lithographs of the 1940s and 1950s show this clearly. An artist could draw a design, print it, rework it and print it again, repeating the cycle two, ten or even twenty times to trace how a composition changed. The same process applied to the portraits of Françoise Gilot, whose features move through successive printed states toward abstraction, and to the editioned states of The Bull, which were made in the mid-1940s. In this practice, the series was less a set of separate works than a record of one idea being tested over time.

Printmaking gave this method its most distinctive form, the "state." Because a printed state could not be undone, each stage of an image was a fixed document of a decision. In the linocut process, Picasso often used one block and cut it back between printings, so that each colour was added and removed in sequence rather than carved on separate blocks. Each interim impression was printed on top of the earlier ones, which left a visible trail of the image's development on the same sheet. Etching worked similarly. For the two plates of Dream and Lie of Franco (1937), he pulled proofs after the first revision, reworked the plate with aquatint and scraping, and then revised the second plate. The proofs that survive from these stages allow scholars and curators to reconstruct the order of decisions. Museums and collectors value these sequences, and the proofs also give evidence for dating and authentication.

Picasso's prints were rarely made without help. From 1923 to 1944 he worked with the Lacourière workshop in Paris, whose staff prepared plates and pulled proofs, which freed him to test new possibilities in each medium. Printers and publishers of this kind were central to his output, and at times they supplied materials so that work could continue. Photography also became part of his working life. Dora Maar, who was his companion in the later 1930s and early 1940s, photographed the studio and documented the progress of Guernica in 1937, and during his stay in Royan from 1939 to 1940 she produced a substantial group of her own works and photographic records. Brassaï photographed Picasso's sculptures over many years, and their collaboration produced hundreds of images that circulated in print and shaped how the sculptures were seen.

Picasso's practice also ranged across media within the same periods, and no single medium served as a fixed base. Around 1939 to 1940, for instance, his work included painting, drawing, printmaking, etching, photography and jewellery-making. Sketchbooks run through the whole career as a parallel track: the eight books he filled at Royan, for example, record classical drawings alongside radical depictions of his companions and of bullfights. The sketchbooks, the proofs and the photographs together make the working process unusually well documented. Ceramics and sculpture from the same decades follow the same logic, with a theme returning in new materials, which is why his output is best understood as a continuous investigation rather than a sequence of separate styles.

Influence on Modern and Contemporary Art

Cubism spread quickly beyond the studios where it was made. Juan Gris and Fernand Léger developed their own versions of its fragmented forms, Gris keeping a more structured, analytic order and Léger turning the planes into mechanical, tubular shapes. The style also reached Russia. Vladimir Tatlin saw Picasso's wooden reliefs during a visit to Paris, and accounts differ on whether that visit took place in 1913 or 1914. Tatlin then built his own abstract constructions, the Counter-reliefs, which hung off the wall into the room. They were shown at the 0.10 exhibition in Petrograd in 1915, and their emphasis on real materials and construction helped shape Russian Constructivism. Tatlin did not accept the Constructivist label, and he pushed the idea further than Picasso had taken it, moving the object out of the picture plane and into space.

Collage and assemblage carried Picasso's experiments into later movements. In 1912 he attached printed oilcloth to a still life, and the technique of papier collé soon brought found material into painting. Dada artists took up the method and turned it toward politics. Hannah Höch began making photomontages in 1919, cutting images from the mass press to satirize the Weimar Republic and its gender norms. She drew on the collage work of Picasso and Kurt Schwitters, but she used mass-media imagery rather than the still-life vocabulary of the Cubists. Pop art and postwar assemblage then extended the idea that ordinary, mass-produced objects could be the material of serious art. Works such as Richard Hamilton's 1956 collage and Robert Rauschenberg's "combines" of the 1950s are usually discussed in this line of descent.

Guernica became one of the most widely recognised examples of political painting in the twentieth century, and its afterlife shows how its meaning was argued over. The painting's monochrome palette and its images of a screaming woman, a dying horse and a bull became a reference point for artists who wanted to address war and atrocity directly. Its public status is also visible in the tapestry copy commissioned in 1955 by Nelson A. Rockefeller, after Picasso had refused to sell him the original. The copy was loaned to the United Nations in 1984 and hung outside the Security Council chamber in New York. In 2003 it was covered by a curtain before Colin Powell addressed the Council, an episode that led to public criticism. The tapestry was removed in 2021, rehung in 2022 as a long-term loan, and is due to be placed on loan through the National Trust for Historic Preservation. Its presence at the UN has been defended as an anti-war statement, and it continues to raise questions about whether a political image belongs in a public institution.

The stylistic changes of Picasso's career, from the Blue and Rose periods through Cubism, Neoclassicism and Surrealism to the late work, have repeatedly reopened debates about originality and continuity. Critics and historians have asked whether these shifts show a restless inventiveness or a series of borrowings, and whether the artist's identity is best understood as a single continuous project or a sequence of breaks. Later generations of artists have tended to measure themselves against this record of reinvention, and the question of how far an individual can be credited for a style developed collaboratively, as with Braque, has become a standing concern in discussions of avant-garde history.

Personal Relationships and Their Imprint on the Work

Picasso's partners are usually treated as more than private matters, because several of them are tied to shifts in his painting, drawing and sculpture. Fernande Olivier, Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot and Jacqueline Roque each appear in the work of a particular phase, and critics often read those phases through the relationship that was current at the time. Olivier, who was his partner from about 1904, is commonly linked to the Rose Period and to early Cubist work, including the paintings that led to Les Demoiselles d'Avignon (1907). Her memoir Picasso et Ses Amis appeared in French in 1933. Khokhlova, whom he married in 1918, is associated with a turn toward more classical, monumental figures, and her portraits became more distorted once the marriage was under strain. Walter dominates the early-1930s paintings, in which rounded, sensuous forms replace the angular manner of the previous decade. Maar is linked to the anguished, fragmented images of the late 1930s, among them the figures associated with Guernica (1937). Gilot and Roque appear in later work that is more domestic, playful or tender, and Roque, whom he married in 1961, is often connected with the simplified, late portraits.

These associations are useful as a chronology, but they should not be read as a simple one-to-one mapping. Picasso also painted the same women in several styles at once, and many of his changes of manner had sources outside his personal life, including the Ballets Russes, the Surrealist circle and the political crisis of the late 1930s. Partners also shaped his practice in less visible ways. Several of them worked alongside him, read his moods, managed households and studios, or were themselves artists. Gilot, a painter in her own right, lived with him for about ten years from 1943 and gave birth to their children Claude and Paloma. Her work was not reducible to her role as a model, and the question of how far her own artistic development was influenced by him remains open.

The family dimension is also visible in the work. Picasso's children appear in portraits, drawings and studies across several decades, including Paulo, the son of Khokhlova, and Maya, the daughter of Walter. Paulo was born in 1921, and the artist's images of him and of motherhood from the early 1920s show a more intimate, domestic register than his earlier studio figures. The same children later appear in drawings from the postwar years, when the family's life became more public. These images are often studied both for their formal qualities and for what they reveal about the artist's changing relationships with the people closest to him.

Gilot's memoir Life with Picasso (1964), written with the critic Carlton Lake, is the most influential account of the artist from within his household. It offers detailed descriptions of his working methods, his conversations about other artists and his moods, and it also portrays his controlling and sometimes abusive behaviour. When it was published, reviewers were divided: some praised its warmth and fairness, while others felt it gave too much weight to his bad conduct or read as a bitter account. The book's reception became part of a wider debate about whether the private life of a major artist should be used to interpret his work, and about the place of women's testimony in that interpretation. Earlier, Olivier's memoir had offered a similar, though less widely read, perspective.

Scholars have approached these relationships from several angles. Some art historians have examined how changes in partner correspond with shifts in palette, subject and handling, and have treated those changes as evidence of emotional or psychological states. Others have cautioned against explanations that reduce complex stylistic developments to biography, pointing out that the same period often involved changes in dealers, patrons, collaborators and political circumstances. Feminist and biographical scholarship has also questioned the image of the women as passive sources of inspiration, emphasising their own careers and their responses to the artist. Taken together, this work treats the personal relationships as one of several overlapping forces in Picasso's development rather than as its single explanation.

Museums, Estate and Market

The principal public collection of Picasso's work is the Musée national Picasso-Paris, installed in the 17th-century Hôtel Salé in the Marais and inaugurated in 1985. Its foundation was not a purchase programme. Picasso died in 1973 without a will, and his heirs faced a large inheritance-tax bill. A 1968 amendment to French law allowed tax to be settled with works considered important to the national cultural heritage, a procedure known as a dation. The heirs' donations of 1979 and 1990, made through this acceptance-in-lieu route, formed the core of the holdings, and the state was also granted a right of first refusal, which is why the collection contains works Picasso kept for himself. The Picasso Museum opened in Paris in 1985 with a total of 228 paintings, 149 sculptures, and nearly 3,100 drawings and engravings. Since then, purchases and further gifts have added to the collection, and the museum has been expanded by a purchase policy that has added more than a thousand works to the national collections.

The Paris museum is not the only institution devoted to him. The Museu Picasso in Barcelona, which opened in 1963, is strongly associated with his formative years in the city and holds a large group of his early works. The Museo Picasso Málaga, in the Palacio de Buenavista in his birthplace, opened in 2003. Both institutions draw on donations and loans, and neither is comparable in scale to the Paris holdings.

The estate, known as the Succession Picasso, is a separate and arguably more influential body. Physical works were divided among the heirs, but the reproduction rights in the works remained in the Picasso Estate, or Succession Picasso, as the joint property of the heirs. Under French law this joint ownership is called indivision, and it lasts until the heirs agree or a court orders a division. In 1989 a French court appointed Claude Picasso as administrator to manage these rights. The Picasso Administration acts on the estate's behalf, and all commercial or non-commercial use must receive express prior permission from the Picasso Administration. Reproductions are also required to carry a copyright notice in the name of the Succession. In July 2023 Paloma Ruiz-Picasso replaced her brother as administrator. Alongside licensing, the estate handles authentication, and this has been contested: after an official authentication committee was disbanded, Claude and Maya Picasso issued separate certificates, which has complicated the work of auction houses and museums. Claude has received on average close to a thousand authentication requests a year.

The market for Picasso's work is shaped by these arrangements as well as by demand. The record for a Picasso at auction is "Version O" of Les Femmes d'Alger, which sold at Christie's New York in May 2015 for $179.4 million including fees, a record price for a painting at auction. It had previously sold in 1997, as part of the Ganz collection, for $31.9 million. Its 2015 price surpassed the prior record of $142.4 million for Francis Bacon's Three Studies of Lucian Freud. The buyer was reported to be Hamad bin Jassim bin Jaber Al Thani, a former Qatari prime minister. The sale illustrates how the art market and the estate's control over the artist's name, reproduction and authentication interact, since high-value transactions depend on documentation that the heirs themselves have contested.

Scholarship, Catalogue Raisonné and Open Debates

Picasso's output is documented chiefly through the Zervos catalogue raisonné. Christian Zervos, founder of the Paris publisher Cahiers d'Art, compiled it in close collaboration with the artist, beginning in 1932. The 33 volumes list more than 16,000 paintings and drawings, and the last volume appeared in 1978, after the deaths of both the compiler and his subject. Because Picasso took part in its making, the catalogue became the standard reference for dating and attributing works, and it remains an essential tool for authentication. Its authority is not absolute, however. The original text was revised with corrections from the Picasso Administration, and the 2013 reprint kept close to the original, with only about thirty minor updates made at the estate's request. Scholars therefore treat its entries as informed but partly shaped by the artist's own account of his output. Works that were not included, or that were dated loosely, continue to be debated through connoisseurship, provenance and technical analysis.

The origin of Cubism is another open question, particularly the division of credit between Picasso and Georges Braque. The style is generally dated to around 1907–08, and the critic Louis Vauxcelles coined the term in 1908 after seeing Braque's landscapes from L'Estaque, which he described as reduced to cubes. Art historians often treat Les Demoiselles d'Avignon as the first step, though the movement's early phases developed through the two men's daily exchange. From 1907 they worked side by side in Montmartre, and their analytic canvases grew so alike that individual unsigned works can be hard to assign. Braque's 1912 Fruit Dish and Glass, which incorporates pasted wallpaper, is widely cited as the origin of papier collé, and Picasso's collage experiments followed shortly after. Historians also debate the sources of the style: Cézanne's geometric approach, African sculpture, and the intellectual climate of the period. An early and influential interpretation came from Daniel-Henry Kahnweiler, Picasso's dealer, who in 1920 read the movement as Kantian in its approach. Later philosophical commentators have challenged that reading.

The reassessment of African and Iberian influences is among the most contested areas. Picasso's encounter with African objects is usually linked to a visit to the Trocadéro ethnographic museum in Paris in 1907, when the masklike faces of two figures in Les Demoiselles d'Avignon took shape. The Museum of Modern Art's essay on the work notes that these objects had reached France through colonial channels and were avidly collected by Picasso and his peers. When Alfred Barr acquired the painting for MoMA in 1939 and tied it to African art, Picasso denied the connection and commissioned Zervos to argue for Iberian sources, such as the Osuna reliefs. Later scholars have read this episode alongside the colonial contexts in which the objects were gathered and displayed. Postcolonial critics, including Simon Gikandi, argue that Picasso was drawn to the idea of the "primitive" while showing little interest in African makers as people. Other historians have examined how anticolonial and anarchist thinking shaped the modernists' understanding of Africa. In recent years, a collector has argued that the painting drew on medieval Catalan frescoes, but leading specialists have rejected that claim and maintain that the African influence was central.

Research into the relationship between Picasso's public image, his political commitments and the reception of his work forms a further strand of current debate. His self-presentation, his membership of the French Communist Party from 1944, and the shifts in his partnerships have all been read as possible keys to his stylistic changes, while other scholars caution against explaining the work primarily through biography. The estate's control over reproduction rights, catalogue publication and loans affects how this research can be carried out, which connects the interpretive debates to questions of copyright and access. The reception of politically charged works such as Guernica and the portraits of Stalin continues to be revisited in this light.

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136. Tapestry replica of Picasso's anti-war masterpiece Guernica removed from United Nations headquarters after 35 years - The Art Newspaper - International art news and eventstheartnewspaper.com
137. Picasso's anti-war "Guernica" tapestry removed from U.N. headquarters after decades on display - CBS Newscbsnews.com
138. Picasso’s Guernica tapestry returns to the United Nationsiran.un.org
139. UN conceals Picasso’s “Guernica” for Powell’s presentation - World Socialist Web Sitewsws.org
140. Life with Picasso by Françoise Gilotgoodreads.com
141. Françoise Gilot, Artist Who Fearlessly Chronicled Her Relationship with Picasso, Dies at 101artnews.com
142. The Entwined Lives of Françoise Gilot and Pablo Picassothenation.com
143. “Let her tell it as she sees it.”thelongestchapter.com
144. Pablo Picasso's women: uncovering the muses behind the artist's pre-eminent portraitsluxurylondon.co.uk
145. Which of Picasso’s Muses Is the Art Market’s Darling?artsy.net
146. Pablo Picasso's Women - A Complex Legacyartincontext.org
147. Picasso & His Muses: The Women That Made His Careerinsights.masterworks.com
148. Picasso’s Muses: The Women Behind the Masterpiecestheartworldpost.com
149. Picasso Museumbritannica.com
150. Museum Boutique Intercontinental, Ltd. v. Picasso, 886 F. Supp. 1155 (S.D.N.Y. 1995) :: Justialaw.justia.com
151. Image rightsmuseepicassoparis.fr
152. Les Femmes d'Algeren.wikipedia.org
153. The collectionmuseepicassoparis.fr
154. Visitors Guide to Musée Picassoparisinsidersguide.com
155. Picasso Museum in Paris • Info, Visiting hours, prices and ticketscometoparis.com
156. Art auction at Christie’s sets record for expensive artmarketplace.org
157. Paloma Picasso appointed Administrator of the Picasso estate - heirs & successesheirsandsuccesses.com
158. Family Feud: Who can authenticate a work by Pablo Picasso?news.masterworksfineart.com
159. Creatives unitecreativesunite.eu
160. The Zervoscahiersdart.com
161. Pablo Picasso - Christian Zervos’ Catalogue Raisonné Availablefineartmultiple.com
162. Pablo Picasso by Christian Zervos Rare Bookgagosianshop.com
163. Cubismtate.org.uk
164. All about cubismtate.org.uk
165. Cubism’s Odd Couple: The Rivalry of Picasso and Braqueartrkl.com
166. Cubismmuseepicassoparis.fr
167. ESPES (Jul 2018)doaj.org
168. Was Picasso Really Inspired by African Art? A Century-Old Debate Reignitesnews.artnet.com
169. How Much Does Picasso Owe to African Art?thecollector.com
170. The White Peril and L'Art n gre: Picasso, Primitivism, and Anticolonialismcollegeart.org
171. Picasso%27s African Perioden.wikipedia.org