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Self Portrait

Biography

Pablo Picasso, self-portrait Yo, Picasso, 1901, Pablo Picasso was born in Molaga, Spain, the first child of Jose Ruiz y Blasco and Maria Picasso y Lopez. He was believed to be a stillborn baby. However his uncle, Salvador Quiz Blasco a well known doctor, revived the baby by blowing cigar smoke into lifeless Pablo's lungs [2]. He was christened with the names Pablo, Diego, Jose, Francisco de Paula, Juan Nepomuceno, Maria de los Remedios, and Cipriano de la Santisima Trinidad.[3]

Les Demoiselles d'Avignon

Picasso's father was a painter whose specialty was the naturalistic depiction of birds and who for most of his life was also a professor of art at the School of Crafts and a curator of a local museum. The young Picasso showed a passion and a skill for drawing from an early age; according to his mother,[4] his first word was "piz," a shortening of lopiz, the Spanish word for pencil.[5] It was from his father that Picasso had his first formal academic art training, such as figure drawing and painting in oil. Although Picasso attended art schools throughout his childhood, often those where his father taught, he never finished his college-level course of study at the Academy of Arts (Academia de San Fernando) in Madrid, leaving after less than a year.

Personal life

Pablo Picasso Françoise, Claude and PalomaAfter studying art in Madrid, he made his first trip to Paris in 1900, the art capital of europe. In Paris, he lived with Max Jacob (journalist and poet), who helped him learn French. Max slept at night and Picasso slept during the day as he worked at night. There were times of severe poverty, cold, and desperation. Much of his work had to be burned to keep the small room warm. In 1901, with his friend Soler, he founded the magazine Arte Joven in Madrid. The first edition was entirely illustrated by him. From that day, he started to simply sign his work Picasso, while before he signed Pablo Ruiz y Picasso.

In the early years of the 20th century, Picasso, still a struggling youth, divided his time between Barcelona and Paris, where in 1904, he began a long-term relationship with Fernande Olivier. It is she who appears in many of the Rose period paintings. After acquiring fame and some fortune, Picasso left Olivier for Marcelle Humbert, whom Picasso called eva. Picasso included declarations of his love for eva in many Cubist works.

Pablo Picasso, Nature morte a la chaise cannee,1912In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including Andre Breton, poet Guillaume Apollinaire, and writer 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.[6]

Portrait of Olga in the ArmchairHe maintained a number of mistresses in addition to his wife or primary partner. Picasso was married twice and had four children by three women. In 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev's troupe, for whom Picasso was designing a ballet, Parade, in Rome. 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. In 1927 Picasso met 17 year old Marie-Therese 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-Therese Walter and fathered a daughter, Maia, with her. Marie-Therese lived in the vain hope that Picasso would one day marry her, and hanged herself four years after Picasso's death.

Dora Maar - Portrait surrealistic painting Dora Maar'sThe 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.

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 came as 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 Genevieve Laporte, who in June 2005 auctioned off the drawings Picasso made of her.

Jacqueline with Crossed Hands Pablo PicassoPicasso was not long in finding another lover, Jacqueline Roque. Roque worked at the Madoura Pottery, 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.

Studio with Plaster HeadPicasso 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-Cote d'Azur. Although he was a celebrity, 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 Mystere Picasso (The Mystery of Picasso) directed by Henri-Georges Clouzot.

 

Paloma with Celluloid FishPablo Picasso Françoise, Claude and PalomaPablo Picasso died on April 8, 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."[7] He was interred at Castle Vauvenargues' park, in Vauvenargues, Bouches-du-Rhone. Jacqueline Roque prevented his children Claude and Paloma from attending the funeral.[8]

 

 

Pacifism

Picasso remained neutral during World War I, the Spanish Civil War and World War II, refusing to fight for any side or country.

Picasso never commented on this but encouraged the idea that it was because he was a pacifist.[citation needed] Some of his contemporaries, including Braque, felt that this neutrality had more to do with cowardice than principle.[citation needed] 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. No political movement seemed to compel his support to any great degree, though he did become a member of the Communist Party.

GuernicaDuring 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.

In 1944 Picasso joined the French Communist Party, attended an international peace conference in Poland, and in 1950 received the Stalin Peace Prize from the Soviet government.[9] 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. His beliefs tended towards anarcho-communism.[citation needed]

In a 1945 interview with Jerome Seckler, Picasso declared: "I am a communist and my painting is a communist painting. But if I were a shoemaker, royalist or communist or anything else, I would not necessarily hammer my shoes in any special way to show my politics." [citation needed]

Work

Breakfast of a Blind Man Blue PeriodPablo Picasso's FriendshipPicasso'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.[10]

Before 1901

First CommunionPicasso'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.[11] During 1893 the juvenile quality of his earliest work falls away; by 1894 his career as a painter can be said to have begun.[12] 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."[13]

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.[14]

Blue Period

The TragedyPablo Picasso, The Old Guitarist, (1902)For more details on this topic, see Picasso's 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.[15] In his austere use of color and sometimes doleful subject matter—prostitutes and beggars are frequent subjects—Picasso was influenced by a trip through Spain and by the suicide of his friend Carlos Casagemas. Starting in autumn of 1901 he painted several posthumous portraits of Casagemas, culminating in the gloomy allegorical painting La Vie, painted in 1903 and now in the Cleveland Museum of Art.[16]

Pablo Picasso, Les Noces de Pierrette, 1905The 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 frequent subjects are artists, acrobats and harlequins. The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso.

Rose Period

Acrobat and Young HarlequinFor more details on this topic, see Picasso's Rose Period.

The Rose Period (1905–1907) is characterized by a more cheery style with orange and pink colors, and again featuring many harlequins. 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.

 

 

African-influenced Period

Sketch for The Demoiselles d'AvignonPablo Picasso, Les Demoiselles d'Avignon, 1907For more details on this topic, see Picasso's African 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.

 

Still-Life with Chair CaningAnalytic cubism

Analytic cubism (1909–1912) is a style of painting Picasso developed along with Braque using monochrome brownish colours. Both artists took apart objects and "analyzed" them in terms of their shapes. Picasso and Braque's paintings at this time are very similar to each other.

 

Polichinelle with Guitar Before the Stage CurtainSynthetic cubism

 

Synthetic cubism (1912–1919) is a further development of Cubism in which cut paper fragments—often wallpaper or portions of newspaper pages—are pasted into compositions, marking the first use of collage in fine art.

 

Classicism and surrealism

GuernicaPablo Picasso, Guernica, 1937 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 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 motif which he used often in his work. His use of the minotaur came partly from his contact with the surrealists, who often used it as their symbol, and appears in Picasso's Guernica.[citation needed]

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.[citation needed] 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."[17]

Guernica hung in New York's Museum of Modern Art for many years. In 1981 Guernica was returned to Spain and exhibited at the Cason del Buen Retiro. In 1992 the painting hung in Madrid's Reina Sofia Museum when it opened.

Later works

Jacqueline Rocque 1958Woman in a Stripped HatPicasso 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 of art by Goya, Poussin, Manet, Courbet and Delacroix.

 

 

Jacqueline Rocque 1960Picasso sculpture in Chicago.He was commissioned to make a maquette for a huge 50 foot high public sculpture to be built in Chicago, known usually as the Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. What the figure represents is not known; it could be a bird, a horse, a woman or a totally abstract shape. The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the people of the city.

Picasso's final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colourful and expressive, and from 1968 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. One long time admirer, Douglas Cooper, called them "the incoherent scribblings of a frenetic old man".[citation needed] 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.

Legacy

Portrait of Man in a HatAt 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 Musee Picasso in Paris. In 2003, relatives of Picasso inaugurated a museum dedicated to him in his birthplace, Molaga, Spain, the Museo Picasso Molaga.

 

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 Sabartes, Picasso's close friend from his Barcelona days who, for many years, was Picasso's personal secretary.

 

El Bobo Velazquez MurilloThe film Surviving Picasso was made about Picasso in 1996, as seen through the eyes of Françoise Gilot. Anthony Hopkins played Picasso in the movie.

 

Some paintings by Picasso rank among the most expensive paintings in the world.

 

"nu on a black armchair" - sold for USD $45.1 million in 1999 to Les Wexner, who then donated it to the Wexner Center for the Arts.

Les Noces de Pierrette - sold for more than USD $51 million in 1999.

Garcon a la pipe- sold for USD $104 million at Sotheby's on May 4, 2004, establishing a new price record.

Dora Maar au Chat - sold for USD $95.2 million at Sotheby's on May 3, 2006.[18]

 

Children

Pablo Picasso - Girl with a Boat (Maya Picasso) 1938Portrait of Paul Picasso as a ChildPaulo (February 4, 1921 - June 5, 1975) - with Olga Khokhlova

Maya (September 5, 1935 - ) - with Marie-Therese Walter

Claude (May 15, 1947 -) with Françoise Gilot

Paloma (April 19, 1949 - ) - with Françoise Gilot

 


Pablo Picasso's Paints and other works

Portrait of Marie TereseThe Barefoot Girl. Detail. 1895. Oil on canvas. Musee Picasso, Paris, France.
First Communion. 1895/96. Oil on canvas. Museo Picasso, Barcelona, Spain.
Portrait of the Artist's Mother. 1896. Pastel on Paper. Museo Picasso, Barcelona, Spain.
Self-Portrait. 1896. Oil on canvas. Museo Picasso, Barcelona, Spain.
Science and Charity. 1897. Oil on canvas. Museo Picasso, Barcelona, Spain.
Matador Luis Miguel Dominguin. 1897. Pencil on paper.
Lola, Picasso's Sister. 1899.
A Spanish Couple in front of an Inn. 1900. Pastel on cardboard. Private collection.
Leaning Harlequin. 1901. Oil on canvas. The Metropolitan Museum of Art, New York, USA.
Woman with Chignon. 1901. Oil on canvas. Fogg Art Museum, Harvard University, Cambridge, MA, USA.
Death of Casagemas. 1901. Oil on wood. Musee Picasso, Paris, France.
Self-Portrait in Blue Period. 1901. Oil on canvas.
Portrait of the Art Dealer Pedro Manach. 1901. Oil on canvas. The National Gallery of Art, Washington, DC, USA.
The Absinthe Drinker. 1901. Oil on cardboard. Melville Hall Collection, New York, NY, USA.
Woman in a Blue Hat. 1901. Pastel on cardboard. Galerie Rosengart, Lucerne, Switzerland.
The Absinthe Drinker. 1901. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Woman with a Cigarette. 1901. Oil on canvas. Barnes Foundation, Lincoln University, Merion, PA, USA.
Le Gourmet. 1901. Oil on canvas. The National Gallery of Art, Washington, DC, USA.
L'Absinthe. 1901. Charcoal, pastel, gouache on paper. Collection of Otto Krebs, Holzdorf. Now in the Hermitage, St. Petersburg, Russia.
The Visit (Two Sisters). 1902. Oil on canvas pasted on panel. The Hermitage, St. Petersburg, Russia.
Breakfast of a Blind Man. 1903. Oil on canvas. The Metropolitan Museum of Art, New York, USA
La Vie (Life). 1903. Oil on canvas. The Cleveland Museum of Art, Cleveland, USA
The Tragedy. 1903. Oil on wood. The National Gallery of Art, Washington, DC, USA
Portrait of a Young Woman. 1903. Oil on canvas pasted on cardboard. The Hermitage, St. Petersburg, Russia
The Old Guitarist. 1903. Oil on panel. Art Institute of Chicago, Chicago, IL, USA
Portrait of Soler. 1903. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Old Beggar with a Boy. 1903. Oil on canvas. The Pushkin Museum of Fine Art, Moscow, Russia
L'ascete. 1903. Oil on canvas. Barnes Foundation, Lincoln University, Merion, PA, USA.
Woman with a Crow. 1904. Charcoal, pastel and water-color on paper. Toledo Museum of Art, Toledo, OH, USA
The Catalan Sculptor Manolo (Manuel Hugue). 1904. Ink and watercolor on paper.
In 'Lapin Agile' or Harlequin with a Glass. 1905. Oil on canvas. Private collection.
Harlequin Sitting on a Red Couch. 1905. Chinese ink and watercolor on paper. Private collection.
Acrobat on a Ball. 1905 Oil on canvas. The Pushkin Museum of Fine Art, Moscow, Russia
Tumblers (Mother and Son). 1905. Gouache on canvas. Staatsgalerie, Stuttgart, Germany
Girl in a Chemise. c.1905. Oil on canvas. Tate Gallery, London, UK.
The Family of Saltimbanques. 1905. Oil on canvas. The National Gallery of Art, Washington, DC, USA
Boy with a Dog. 1905. Pastel and gouache on cardboard. The Hermitage, St. Petersburg, Russia.
Two Brothers. 1905. Oil on canvas. Kunstmuseum Basel, Basel, Switzerland.
Two Youths. 1905. Oil on canvas. The National Gallery of Art, Washington, DC, USA.
Acrobat and Young Harlequin. 1905. Oil on canvas. Barnes Foundation, Lincoln University, Merion, PA, USA.
Juggler with Still-Life. 1905. Gouache on cardboard. The National Gallery of Art, Washington, DC, USA.
Lady with a Fan. 1905. Oil on canvas. The National Gallery of Art, Washington, DC, USA
Young Girl with a Goat. 1906. Oil on canvas. Barnes Foundation, Lincoln University, Merion, PA, USA
The Peasants. Composition. 1906. Oil on canvas. Barnes Foundation, Lincoln University, Merion, PA, USA.
nu Youth. 1906. Gouache on cardboard. The Hermitage, St. Petersburg, Russia.
Glassware. Still Life with a Porro. 1906. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Boy Leading a Horse. 1906. Oil on canvas. The Museum of Modern Arts, New York, NY, USA.
La Toilette. 1906. Oil on canvas. Albright-Knox Art Gallery, Buffalo, NY, USA
Hairdressing. 1906. Oil on canvas. The Metropolitan Museum of Art, New York, USA.
Self-Portrait with a Palette. 1906. Oil on canvas. Philadelphia Museum of Art, Philadelphia, PA, USA.
Portrait of Gertrude Stein. 1906. Oil on canvas. The Metropolitan Museum of Art, New York, USA.
Sketch for The Demoiselles d'Avignon. 1907. Watercolor on paper. Museum of Art, Philadelphia, PA, USA.
Les Demoiselles d'Avignon. 1907. Oil on canvas. The Museum of Modern Arts, New York, NY, USA
The Dance of the Veils. 1907. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Composition with a Skull. 1907. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Head of a Woman. 1907. Oil on canvas. Barnes Foundation, Lincoln University, Merion, PA, USA.
Head of a Man. 1907. Oil on canvas. Barnes Foundation, Lincoln University, Merion, PA, USA.
Woman Seated. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Friendship. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Green Bowl and Black Bottle. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Pot, Wine-Glass and Book. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Decanter and Tureens. 1908. Oil on cardboard. The Hermitage, St. Petersburg, Russia.
Flowers in a Grey Jug and Wine-Glass with Spoon. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
La Fermiere (half-length). 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
(full-length). 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
House in a Garden. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Dryad. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Three Women. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Woman with a Fan. 1908. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Two Naked Figures. 1908. Oil on canvas.
Portrait of Fernarde. 1909. Oil on canvas. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany.
Bread and Fruit Dish on a Table. 1909. Oil on canvas. Kunstmuseum Basel, Basel, Switzerland.
Woman Playing the Mandoline. 1909. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Man with Arms Crossed. 1909. Watercolor, gouache and charcoal on paper pasted on cardboard. The Hermitage, Russia.
Woman with Fan. 1909. Oil on canvas. 1909. The Pushkin Museum of Fine Art, Moscow, Russia.
nu. 1909. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Compotier, Fruit, and Glass. 1909. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Young Woman. 1909. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Factory in Horta de Ebbo. 1909. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Portrait of Ambroise Vollard. 1910. Oil on canvas. The Pushkin Museum of Fine Art, Moscow, Russia. More.
nu Woman. 1910. Oil on canvas. The National Gallery of Art, Washington, DC, USA.
Portrait of Kahnweiler. 1910. Oil on canvas. Art Institute of Chicago, Chicago, IL, USA.
Still-Life with Chair Caning. 1911/12. Collage of oil, oilcloth, and pasted paper Russia.
nu, I love Eva. 1912. Oil on canvas. Museum of Art, Columbus, OH, USA.
The Restaurant: Turkey with Truffles and Wine. 1912. Oil on canvas.
Bottle of Pernod (Table in a Cafe). 1912. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Musical Instruments. 1912. Oil, sawdust and gypsum on cardboard. The Hermitage, St. Petersburg, Russia.
Tavern (The Ham). 1912. Oil and sawdust on cardboard. The Hermitage, St. Petersburg, Russia.
Violin and Guitar. 1913. Oil on canvas. The Hermitage, St. Petersburg, Russia
Clarinet and Violin. 1913. Oil on canvas. The Hermitage, St. Petersburg, Russia.
Guitar. 1913. Charcoal, pencil, ink and pastel paper. The Museum of Modern Arts, New York, NY, USA
The Card-Player. 1913-1914. Oil on canvas. The Museum of Modern Arts, New York, NY, USA.
Composition. Bowl of Fruit and Sliced Pear. 1914. Wallpaper, gouache and plumbago on cardboard. The Hermitage, St. Petersburg, Russia.
Fruit Vase and Bunch of Grapes. 1914. Paper, gouache, tempera, sawdust and pencil. The Hermitage, St. Petersburg, Russia.
Harlequin. 1915. Oil on canvas. The Museum of Modern Arts, New York, NY, USA.
Portrait of Olga in the Armchair. 1917. Oil on canvas. Musee Picasso, Paris, France.
Sketch of Set for the "Parade". 1917. Peinture a la colle. The National Museum of Modern Art, Paris, France.
Harlequin with a Guitar. 1918. Oil on wood. Collection H. Berggruen, Paris, France.
Pierrot. 1918. Oil on canvas. The Museum of Modern Arts, New York, NY, USA
The Bathers. 1918. Oil on canvas. Musee Picasso, Paris, France
Sleeping Peasants. 1919. Tempera, water-color and pencil. The Museum of Modern Arts, New York, NY, USA.
Torero. Study for "Le Tricorne". 1919. Gouache. Private collection.
Guitar, Bottle, Bowl with Fruit, and Glass on Table. 1919. Oil on canvas. Collection H. Berggruen, Paris, France.
Polichinelle with Guitar Before the Stage Curtain. 1919. Gouache. Private collection.
Three Dancers. 1919-1920. Pencil.
Group of Dancers. Olga Kokhlova is Lying in the Foreground. 1919-20. Crayon.
Juan-les-Pins. 1920. Oil on canvas.
Portrait of Igor Stravinsky. 1920. Graphite and charcoal. Musee Picasso, Paris, France.
Reading of Letter. 1921. Oil on canvas. Musee Picasso, Paris, France.
Three Musicians. 1921. Oil on canvas. The Museum of Modern Arts, New York, NY, USA
Mother and Child. 1921-22. Oil on canvas. The Alex L. Hillman Family Foundation, New York, NY, USA.
Still Life with Guitar. 1922. Oil on canvas. Galerie Rosengart, Lucerne, Switzerland.
Women Running on the Beach. 1922. Oil on plywood. Musee Picasso, Paris, France
The Classical Head. 1922. Oil on canvas. The National Gallery of Art, Washington, DC, USA.
Portrait of Mme Olga Picasso. 1922-23. Pastel.
La Dance Villageoise. 1922. Pastel on canvas.
Portrait of Paul Picasso as a Child. 1923. Oil on canvas. Collection of Paul Picasso, Paris, France.
The Lovers. 1923. Oil on canvas. The National Gallery of Art, Washington, DC, USA
The Pipes of Pan. 1923. Oil on canvas. Musee Picasso, Paris, France
The Seated Harlequin. 1923. Oil on canvas. Kunstmuseum Basel, Basel, Switzerland
Madame Olga Picasso. 1923. Oil on canvas. The National Gallery of Art, Washington, DC, USA.
Picasso's Mother. 1923. Oil on canvas.
Olga Khokhlova, Picasso's First Wife. 1923. Oil on canvas.
Paulo, Picasso's Son, as Harlequin. 1924. Oil on canvas. Musee Picasso, Paris, France
Three Dancers. 1925. Oil on canvas. Tate Gallery, London, UK.
Paulo, Picasso's Son, as Pierrot. 1925. Oil on canvas
The Three Graces. 1925. Oil and charcoal on canvas.
Studio with Plaster Head. 1925. Oil on canvas. The Museum of Modern Arts, New York, NY, USA
Bather Opening a Cabin. 1928. Oil on canvas. Musee Picasso, Paris, France.
nu in an Armchair. 1929. Oil on canvas.
nu on a Beach. 1929. Oil on canvas.
Acrobat. 1930. Oil on canvas
Crucifixion. 1930. Oil on wood. More.
Figures on a Beach. 1931. Oil on canvas. Musee Picasso, Paris, France.
Young Girl Throwing a Rock. 1931. Oil on canvas.
nu and Still-life. 1931. Oil on canvas
nu in an Armchair. 1932. Oil on canvas.
Woman with a Flower. 1932. Oil on canvas. Galerie Beyeler, Basle, Switzerland
Girl Before a Mirror. 1932. Oil on canvas. The Museum of Modern Arts, New York, NY, USA.
Minotaur with a Javelin and Woman Hostage. 1934. Chinese ink on wood.
Interior with a Girl Drawing. 1935. Oil on canvas. The Museum of Modern Arts, New York, NY, USA.
Girl on a Pillow. 1936. Oil on canvas.
Sketch of Set for "Le 14 Juillet" by Romain Rolland. 1936.
Marie-Therese Walter. 1937. Oil on canvas.
Young Girl Reading a Book on the Beach. 1937. Oil, charcoal and pencil on canvas.
Young Girl in an Armchair. 1937. Oil, charcoal and pencil on canvas.
Marie-Therese Walter. 1937. Oil on canvas.
Minotaur and His Wife. 1937. Oil on canvas.
Lee Miller. 1937. Oil on canvas.
Dora Maar. 1937. Pencil on canvas
A Woman in Tears. 1937. Oil on canvas. Musee Picasso, Paris, France.
Guernica. 1937. Oil on canvas. Museo del Prado, Madrid, Spain.
La Suppliante. 1937. Oil on canvas. Gouache and China ink on wood. Musee Picasso, Paris, France.
Portrait of Marie-Therèse. 1937. Oil on canvas. Musee Picasso, Paris, France.
Portrait of Dora Maar. 1937. Oil on canvas. Musee Picasso, Paris, France
Portrait of Nusche Eluard. 1937. Musee Picasso, Paris, France.
Bathers with a Toy Boat. 1937. Oil, chalk and charcoal on canvas. Peggy Guggenheim Collection, Venice, Italy.
Weeping Woman. 1937. Oil on canvas. Penrose collection, London, UK
Girl with a Boat (Maya Picasso). 1938. Oil on canvas. Galerie Rosengart, Lucerne, Switzerland.
Maya with a Doll. 1938. Oil on canvas. Musee Picasso, Paris, France.
A Young Faun Playing a Serenade to a Young Girl. 1938. Oil on canvas.
Maya, Picasso's Daughter with a Doll. 1938. Oil on canvas.
Still-Life. 1938. Oil on canvas.
Farmer and nu, Surrounded by Hens. 1938. Charcoal on canvas.
Portrait of a Young Girl. 1938. Oil on canvas.
Nusch Eluard. 1938. Oil on canvas.
Wounded Bird and Cat. 1938. Oil on canvas
Young Girl Struck by Sadness. 1939. Oil on canvas.
Night Fishing at Antibes. 1939. Oil on canvas. The Museum of Modern Arts, New York, NY, USA.
Young Tormented Girl. 1939. Oil on canvas.
Woman in a Stripped Hat. 1939. Oil on canvas. Musee Picasso, Paris, France.
Silhouette of Picasso and Young Girl Crying. 1940. Oil on canvas.
Dora Maar. 1941. Oil on canvas. The National Gallery of Art, Washington, DC, USA.
Still Life with Steer's Skull. 1942. Oil on canvas. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany.
Still-Life with Cheese. 1944. Oil on canvas. Private collection.
The Charnel House. 1944-45. Oil and charcoal on canvas. The Museum of Modern Arts, New York, NY, USA.
Still-Life. 1945. Oil on canvas.
The Bull. State I. 1945. Lithography. The Museum of Modern Arts, New York, NY, USA
Portrait of Françoise. 1946. Drawing. Musee Picasso, Paris, France.
Woman in an Armchair I. 1948. Lithography, 4th step in black.
Claude, Son of Picasso. 1948. Oil on canvas.
Woman with Green Hair. 1949. Lithography. 2nd step.
Paloma and Claude, Children of Picasso. 1950. Oil on canvas.
Paloma with Celluloid Fish. 1950. Oil and enamel on plywood.
Françoise Gilot with Claude and Paloma. 1951. Enamel on plywood.
Françoise, Claude and Paloma. 1951. Oil on plywood.
Knight, Page and Monk. 1951. Oil on canvas.
Portrait of Sylvette. 1954. Oil on canvas. Private collection.
Jacqueline with Crossed Hands. 1954. Oil on canvas. Musee Picasso, Paris, France.
Paloma Playing with Tadpoles. 1954. Oil on canvas.
Françoise, Claude and Paloma. 1954. Oil on canvas.
Jacqueline with Flowers. 1954. Oil on canvas. Jacqueline Picasso Collection, Mougins.
Jacqueline Rocque. 1955. Oil and charcoal on canvas.
Jacqueline in Studio. 1957. Oil on canvas. Musee Picasso, Paris, France.
Paloma Picasso. 1956. Oil on canvas.
The Studio of "La Californie" at Cannes. 1956. Oil on canvas. Musee Picasso, Paris, France.
Jacqueline in the Studio. 1956. Oil on canvas. Gift from the Galerie Rosengart to the city of Lucerne.
The Doves. 1957. Oil on canvas. Museo Picasso, Barcelona, Spain
Las Meninas. After Velázquez. 1957. Oil on canvas. Museo Picasso, Barcelona, Spain.
The King of the Minotaurs. 1958. Oil on canvas.
Monolithic nu. 1958. Oil on canvas.
Jacqueline Rocque. 1958. Oil on canvas.
"La Californie". 1958. Enamel on canvas.
nu in an Armchair. 1959. Oil on canvas.
nu in an Armchair with a Bottle of Evian Water, a Glass and Shoes. 1959. Oil on canvas.
nu Queen of the Amazons with Servant. 1960. Oil on canvas.
Jacqueline. 1960. Oil on canvas.
Portrait of a Sitting Woman. 1960. Oil on canvas. Musee d'Unterlinden, Colmar, France.
Luncheon on the Grass. After Manet. 1961. Oil on canvas. Galerie Rosengart, Lucerne, Switzerland.
The Rape of the Sabine Women. 1962-63. Oil on canvas. The Museum of Fine Arts, Boston, MA, USA. More.
Cavalier with Pipe. 1968. Oil on canvas. Galerie Rosengart, Lucerne, Switzerland.
Female nu and Smoker. 1968. Oil on canvas. Galerie Rosengart, Lucerne, Switzerland.
Rembrandt Figure and Eros. 1969. Oil on canvas. Gift from the Galerie Rosengart to the City of Lucerne.
The Kiss. 1969. Oil on canvas. Musee Picasso, Paris, France.
Portrait of Man in a Hat. 1971. Oil on canvas. Musee d'Unterlinden, Colmar, France.
Self-Portrait. 1972. Crayons.
Jacqueline de Vauvenargues. Oil on canvas.
Vauvenargues. Oil on canvas.
Lunch on the Grass. Oil on canvas.
El Bobo. Oil on canvas.

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