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Pablo Picasso
Biography Wiki
Pablo Diego José Francisco de Paula Juan Nepomuceno María de los
Remedios Cipriano de la Santísima Trinidad Clito Ruiz y Picasso
known as Pablo Ruiz Picasso (Spanish pronunciation: ['paβlo řu'jθ pi'kasso]; 25
October 1881 – 8 April 1973) was a Spanish painter,
draughtsman,
and sculptor.
He is best known for co-founding the Cubist movement and for the wide variety of
styles embodied in his work. Among his most famous works are the
proto-Cubist Les Demoiselles d'Avignon
(1907) and Guernica (1937), his portrayal of
the German bombing of Guernica during the Spanish Civil War.
Picasso demonstrated uncanny artistic talent in his early years,
painting in a realistic manner through his childhood and adolescence;
during the first decade of the twentieth century his style changed as he
experimented with different theories, techniques, and ideas. His
revolutionary artistic accomplishments brought him universal renown and
immense fortune throughout his life, making him one of the best-known
figures in twentieth century art. Early life
Picasso was baptized Pablo Diego José Francisco de Paula Juan
Nepomuceno María de los Remedios Crispiniano de la Santísima Trinidad,
a series of names honouring various saints and relatives.[2]
Added to these were Ruiz and Picasso, for his father and mother,
respectively, as per Spanish law. Born in the city of Málaga
in the Andalusian region of Spain, he was the first child
of Don José Ruiz y Blasco (1838–1913) and
María Picasso y López.[3]
Picasso’s family was middle-class; his father was also a painter who
specialized in naturalistic depictions of birds and other game. For most
of his life Ruiz was a professor of art at the School of Crafts and a curator
of a local museum. Ruiz’s ancestors were minor aristocrats.
The house where Picasso was born, in Málaga
Picasso showed a passion and a skill for drawing from an early age;
according to his mother, his first words were “piz, piz”, a shortening
of lápiz, the Spanish word for ‘pencil’.[4]
From the age of seven, Picasso received formal artistic training from
his father in figure drawing and oil painting. Ruiz was a traditional,
academic artist and instructor who believed that proper training
required disciplined copying of the masters, and drawing the human body
from plaster casts and live models. His son became preoccupied with art
to the detriment of his classwork.
The family moved to A
Coruña in 1891 where his father became a professor at the School of
Fine Arts. They stayed almost four years. On one occasion the father
found his son painting over his unfinished sketch of a pigeon. Observing
the precision of his son’s technique, Ruiz felt that the
thirteen-year-old Picasso had surpassed him, and vowed to give up
painting.[5]
In 1895, Picasso's seven-year old sister, Conchita, died of diphtheria—a
traumatic event in his life.[6]
After her death, the family moved to Barcelona,
with Ruiz transferring to its School of Fine Arts. Picasso thrived in
the city, regarding it in times of sadness or nostalgia as his true
home.[7]
Ruiz persuaded the officials at the academy to allow his son to take an
entrance exam for the advanced class. This process often took students a
month, but Picasso completed it in a week, and the impressed jury
admitted Picasso, who was 13. The student lacked discipline but made
friendships that would affect him in later life. His father rented him a
small room close to home so Picasso could work alone, yet Ruiz checked
up on him numerous times a day, judging his son’s drawings. The two
argued frequently.
Picasso’s father and uncle decided to send the young artist to
Madrid’s Royal Academy of
San Fernando, the country's foremost art school.[7]
In 1897, Picasso, age 16, set off for the first time on his own, but he
disliked formal instruction and quit attending classes soon after
enrollment. Madrid, however, held many other attractions: the Prado housed paintings by the venerable Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially
admired the works of El Greco; their elements, the elongated limbs,
arresting colors, and mystical visages, are echoed in Picasso’s œuvre.
Career beginnings
After studying art in Madrid, Picasso made his first trip to Paris in
1900, then the art capital of Europe. There, he met his first Parisian
friend, the journalist and poet Max
Jacob, who helped Picasso learn the language and its literature.
Soon they shared an apartment; Max slept at night while Picasso slept
during the day and worked at night. These were times of severe poverty,
cold, and desperation. Much of his work was burned to keep the small
room warm. During the first five months of 1901, Picasso lived in
Madrid, where he and his anarchist
friend Francisco de Asís Soler founded the magazine Arte Joven (Young
Art), which published five issues. Soler solicited articles and
Picasso illustrated the journal, mostly contributing grim cartoons
depicting and sympathizing with the state of the poor. The first issue
was published on 31 March 1901, by which time the artist had started to
sign his work simply Picasso, while before he had signed Pablo
Ruiz y Picasso.[9]
By 1905 Picasso became a favorite of the American art collectors Leo
and Gertrude Stein. Their older brother Michael
Stein and his wife Sarah also became collectors of his work. Picasso
painted portraits of both Gertrude Stein and her nephew Allan
Stein.[10]
Gertrude Stein became Picasso's principal patron, acquiring his
drawings and paintings and exhibiting them in her informal Salon
at her home in Paris.[11]
At one of her gatherings in 1905, he met Henri
Matisse, who was to become a lifelong friend and rival. The Steins
introduced him to Claribel Cone and her
sister Etta who were American art collectors; they also began to acquire
Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy,
and Michael and Sarah Stein became patrons of Matisse; while Gertrude
Stein continued to collect Picasso.[12]
In 1907 Picasso joined the art gallery that had recently been opened
in Paris by Daniel-Henry Kahnweiler. Kahnweiler
was a German art historian, art collector who became one of the premier
French art dealers of the 20th century. He became prominent in Paris
beginning in 1907 for being among the first champions of Pablo Picasso, Georges Braque and Cubism.
Kahnweiler championed burgeoning artists such as André Derain, Kees Van Dongen, Fernand Léger, Juan
Gris, Maurice de Vlaminck and several others
who had come from all over the globe to live and work in Montparnasse
at the time.[13]
In Paris, Picasso entertained a distinguished coterie of friends in
the Montmartre
and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred
Jarry, and Gertrude Stein. Apollinaire was arrested on suspicion of
stealing the Mona Lisa from the Louvre in
1911. Apollonaire pointed to his friend Picasso, who was also brought in
for questioning, but both were later exonerated.[14]
Personal life
In the early 20th century, Picasso divided his time between Barcelona
and Paris. In 1904, in the middle of a storm, he met Fernande Olivier, a
Bohemian artist who became his mistress.[6]
Olivier appears in many of his Rose period paintings. After acquiring
fame and some fortune, Picasso left Olivier for Marcelle Humbert, whom
he called Eva Gouel. Picasso included declarations of his love for Eva
in many Cubist works. Picasso was devastated by her premature death from
illness at the age of 30 in 1915.[15]
After World War I, Picasso made a number of important relationships
with figures associated with Serge Diaghilev's Ballets Russes. Among his friends during this period were Jean
Cocteau, Jean Hugo, Juan
Gris and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev’s troupe, for whom Picasso was designing
a ballet, Parade, in Rome; and they spent their
honeymoon in the villa near Biarritz of the glamorous Chilean art patron
Eugenia Errázuriz. Khokhlova introduced
Picasso to high society, formal dinner parties, and all the social
niceties attendant on the life of the rich in 1920s Paris. The two had a
son, Paulo, who would grow up to be a dissolute motorcycle racer and
chauffeur to his father. Khokhlova’s insistence on social propriety
clashed with Picasso’s bohemian
tendencies and the two lived in a state of constant conflict. During
the same period that Picasso collaborated with Diaghilev’s troup, he and
Igor Stravinsky collaborated on Pulcinella in 1920. Picasso took the
opportunity to make several drawings of the composer.
In 1927 Picasso met 17-year-old Marie-Thérèse Walter and began a secret
affair with her. Picasso’s marriage to Khokhlova soon ended in
separation rather than divorce, as French law required an even division
of property in the case of divorce, and Picasso did not want Khokhlova
to have half his wealth. The two remained legally married until
Khokhlova’s death in 1955. Picasso carried on a long-standing affair
with Marie-Thérèse Walter and fathered a daughter, Maia, with her.
Marie-Thérèse lived in the vain hope that Picasso would one day marry
her, and hanged herself four years after Picasso’s death. Throughout his
life Picasso maintained a number of mistresses in addition to his wife
or primary partner. Picasso was married twice and had four children by
three women.
The photographer and painter Dora
Maar was also a constant companion and lover of Picasso. The two
were closest in the late 1930s and early 1940s and it was Maar who
documented the painting of Guernica.
War years and
beyond
During the Second World War, Picasso remained in Paris while the
Germans occupied the city. Picasso’s artistic style did not fit the Nazi views of art, so he was not able to show
his works during this time. Retreating to his studio, he continued to
paint all the while, producing works such as the Still Life with
Guitar (1942) and The Charnel House (1944-48) [16].
Although the Germans outlawed bronze
casting in Paris, Picasso continued regardless, using bronze smuggled to
him by the French Resistance.
In 1944, after the liberation of Paris, Picasso started a new
relationship with a young art student, named Françoise Gilot (born 1921) and who was 40
years younger than him. Having grown tired of his mistress Dora
Maar, Picasso and Gilot began to live together. Eventually they had
two children, Claude born in 1947 and Paloma born in 1949. His relationship with Gilot ended in
1953, when she and the children walked out on him. In her 1964 book Life
with Picasso [17]
she explains the breakup as being because of abusive treatment and
Picasso's infidelities. This came as a severe blow to
Picasso.
After his relationship with Gilot fell apart, and she left; Picasso
continued to have affairs with even younger women than Françoise. While
still involved with Gilot in 1951 Picasso had a six-week affair with Geneviève Laporte (1926), who in June 2005
auctioned off drawings that Picasso made of her and gave to her as a
gift. Eventually Picasso began to come to terms with his advancing age
and his waning attraction to young women, by incorporating the idea into
his new work; expressing the perception that, now in his 70s, he had
become a grotesque and comic figure to young women. A number of works
including paintings, ink drawings and prints from this period explore
the theme of the hideous old dwarf as accompaniment to and doting lover
of a beautiful young model.
Jacqueline Roque (1927 – 1986) who worked
at the Madoura Pottery in Vallauris
on the French Riviera, where Picasso made and
painted ceramics became his lover, and in 1961 his second wife. The two
were together for the remainder of Picasso’s life. Gilot had been
seeking a legal means to legitimize her children with Picasso and his
marriage to Roque was also the means of Picasso's final act of revenge
against Gilot. With Picasso’s encouragement, she had divorced her then
husband, Luc Simon, with the plan to finally actually marry Picasso;
securing her children’s rights as Picasso's legitimate heirs. However
Picasso had already secretly married Roque after Gilot had filed for
divorce. Denying Gilot, thus exacting his revenge for her walking out on
him, and leaving his children Claude and Paloma estranged in their
relationship with him.
Picasso had constructed a huge gothic structure and could afford large villas in the
south of France, at Notre-dame-de-vie on the outskirts of Mougins, in
the Provence-Alpes-Côte d'Azur. By
this time he was a celebrity, and there was often as much interest in
his personal life as his art.
In addition to his manifold artistic accomplishments, Picasso had a
film career, including a cameo appearance in Jean
Cocteau’s Testament of Orpheus. Picasso always played
himself in his film appearances. In 1955 he helped make the film Le
Mystère Picasso (The Mystery of Picasso) directed by Henri-Georges Clouzot.
Death
Pablo Picasso died on 8 April 1973 in Mougins,
France, while he and his wife Jacqueline entertained friends for
dinner. His final words were “Drink to me, drink to my health, you know I
can’t drink any more.”[18]
He was interred at the Chateau of
Vauvenargues near Aix-en-Provence, a property he had acquired
in 1958 and occupied with Jacqueline between 1959 and 1962. Jacqueline
Roque prevented his children Claude and Paloma from attending the
funeral.[19]
Devastated and lonely after the death of Picasso, Jacqueline Roque took
her own life by gunshot in 1986 when she was 60 years old.[20]
Children
Political views
Picasso remained neutral during World War I, the Spanish Civil War, and World War II, refusing to fight
for any side or country. As a Spanish citizen living in France, Picasso
was under no compulsion to fight against the invading Germans
in either World War. In the Spanish Civil War, service for Spaniards
living abroad was optional and would have involved a voluntary return to
the country to join either side. While Picasso expressed anger and
condemnation of Francisco Franco and fascists
through his art, he did not take up arms against them. He also remained
aloof from the Catalan independence movement during his youth
despite expressing general support and being friendly with activists
within it.
In 1944 Picasso joined the French Communist Party, attended an international
peace conference in Poland, and in 1950 received the Lenin Peace Prize from the Soviet government.[21]
But party criticism of a portrait of Stalin
as insufficiently realistic cooled Picasso’s interest in communist
politics, though he remained a loyal member of the Communist Party until
his death. In a 1945 interview with Jerome Seckler, Picasso stated: “I
am a Communist and my painting is Communist painting. ... But if I were a
shoemaker, Royalist or Communist or anything else, I would not
necessarily hammer my shoes in a special way to show my politics.”[22]
His Communist militancy, not uncommon among intellectuals and artists
at the time although it was officially banned in Francoist Spain, has long been the
subject of some controversy; a notable source or demonstration thereof
was a sarcastic quote commonly attributed to Salvador Dalí (with whom Picasso had a rather strained
relationship[23]),
ostensibly casting doubt on the true honesty of his political
allegiances:
- Picasso es pintor, yo también; [...] Picasso es español, yo
también; Picasso es comunista, yo tampoco.
- (Picasso is a painter, so am I; [...] Picasso is a Spaniard, so am
I; Picasso is a communist, neither am I.) [24][25][26][27][28][29]
According to Jean Cocteau's diaries, Picasso once said to
him in reference to the communists: "I have joined a family, and like
all families, it's full of shit".[30]
He was against the intervention of the United Nations and the United
States[31]
in the Korean War and he depicted it in Massacre in Korea. In 1962, he received the International Lenin Peace Prize.
Art
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Art is a lie that makes us
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Picasso’s work is often categorized into periods. While the names of
many of his later periods are debated, the most commonly accepted
periods in his work are the Blue Period (1901–1904), the Rose Period (1905–1907), the African-influenced Period
(1908–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919).
In 1939–40 the Museum of Modern Art in New York City, under its
director Alfred Barr, a Picasso
enthusiast, held a major and highly successful retrospective of his
principal works up until that time. This exhibition lionized the artist,
brought into full public view in America the scope of his artistry, and
resulted in a reinterpretation of his work by contemporary art
historians and scholars.[33]
Before 1901
Picasso’s training under his father began before 1890. His progress
can be traced in the collection of early works now held by the Museu
Picasso in Barcelona, which provides one of the most
comprehensive records extant of any major artist’s beginnings.[34]
During 1893 the juvenile quality of his earliest work falls away, and
by 1894 his career as a painter can be said to have begun.[35]
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.”[36]
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.[37]
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.[38]
Many paintings of gaunt mothers with children date from this period. 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 (1903),[39]
now in the Cleveland Museum of Art.[40]
The same mood pervades the well-known etching The Frugal Repast
(1904),[41]
which depicts a blind man and a sighted woman, both emaciated, seated
at a nearly bare table. Blindness is a recurrent theme in Picasso’s
works of this period, also represented in The Blindman’s Meal
(1903, the Metropolitan Museum of Art) and
in the portrait of Celestina (1903). Other works include Portrait
of Soler and Portrait of Suzanne Bloch.
Rose Period
The Rose Period (1904–1906)[42]
is characterized by a more cheery style with orange and pink colors,
and featuring many circus people, acrobats and harlequins
known in France as saltimbanques. The harlequin, a comedic character
usually depicted in checkered patterned clothing, became a personal
symbol for Picasso. Picasso met Fernande Olivier, a model for sculptors
and artists, in Paris in 1904, and many of these paintings are
influenced by his warm relationship with her, in addition to his
increased exposure to French painting. The generally upbeat and
optimistic mood of paintings in this period is reminiscent of the
1899–1901 period (i.e. just prior to the Blue Period) and 1904 can be
considered a transition year between the two periods.
African-influenced
Period
Picasso’s African-influenced Period (1907–1909) begins with the two
figures on the right in his painting, Les Demoiselles d'Avignon,
which were inspired by African artifacts. Formal ideas developed during
this period lead directly into the Cubist period that follows.
Cubism
Analytic cubism
(1909–1912) is a style of painting Picasso developed along with Georges Braque using monochrome brownish and neutral colors.
Both artists took apart objects and “analyzed” them in terms of their
shapes. Picasso and Braque’s paintings at this time have many
similarities. Synthetic cubism (1912–1919) was a further development of
the genre, in which cut paper fragments—often wallpaper or portions of
newspaper pages—were pasted into compositions, marking the first use of collage
in fine art.
Classicism
and surrealism
In the period following the upheaval of World War I, Picasso produced
work in a neoclassical style. This “return to order” is evident in the work of many European
artists in the 1920s, including André Derain, Giorgio de Chirico, and the artists of the New Objectivity movement. Picasso’s paintings and
drawings from this period frequently recall the work of Ingres.
During the 1930s, the minotaur replaced the harlequin as a common motif
in his work. His use of the minotaur came partly from his contact with
the surrealists,
who often used it as their symbol, and it appears in Picasso’s Guernica.
Arguably Picasso’s most famous work is his depiction of the German bombing of Guernica during the Spanish Civil War—Guernica. This large canvas
embodies for many the inhumanity, brutality and hopelessness of war.
Asked to explain its symbolism, Picasso said, “It isn’t up to the
painter to define the symbols. Otherwise it would be better if he wrote
them out in so many words! The public who look at the picture must
interpret the symbols as they understand them.”[43][44]
Guernica hung in New York’s Museum of Modern Art for many years. In 1981 Guernica
was returned to Spain and exhibited at the Casón del Buen Retiro.
In 1992 the painting hung in Madrid’s Reina Sofía Museum
when it opened.
Later works
Picasso sculpture in Chicago
Picasso was one of 250 sculptors who exhibited in the 3rd Sculpture International held
at the Philadelphia Museum of Art in
mid-1949. In the 1950s, Picasso’s style changed once again, as he took
to producing reinterpretations of the art of the great masters. He made a
series of works based on Velazquez’s painting of Las
Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix.
Nude Woman with a Necklace (1968), Tate
He was commissioned to make a maquette
for a huge 50-foot (15 m)-high public
sculpture to be built in Chicago, known usually as the Chicago Picasso. He approached the project with a great
deal of enthusiasm, designing a sculpture which was ambiguous and
somewhat controversial. What the figure represents is not known; it
could be a bird, a horse, a woman or a totally abstract shape. The
sculpture, one of the most recognizable landmarks in downtown Chicago,
was unveiled in 1967. Picasso refused to be paid $100,000 for it,
donating it to the people of the city.
Picasso’s final works were a mixture of styles, his means of
expression in constant flux until the end of his life. Devoting his full
energies to his work, Picasso became more daring, his works more
colorful and expressive, and from 1968 through 1971 he produced a
torrent of paintings and hundreds of copperplate etchings. At the time
these works were dismissed by most as pornographic fantasies of an
impotent old man or the slapdash works of an artist who was past his
prime. Only later, after Picasso’s death, when the rest of the art world
had moved on from abstract expressionism, did the critical community
come to see that Picasso had already discovered neo-expressionism and was, as so often
before, ahead of his time.
Commemoration
and legacy
Picasso was exceptionally prolific throughout his long lifetime. The
total number of artworks he produced has been estimated at 50,000,
comprising 1,885 paintings; 1,228 sculptures; 2,880 ceramics, roughly
12,000 drawings, many thousands of prints, and numerous tapestries and
rugs.[45]
At the time of his death many of his paintings were in his possession,
as he had kept off the art market what he didn’t need to sell. In
addition, Picasso had a considerable collection of the work of other
famous artists, some his contemporaries, such as Henri
Matisse, with whom he had exchanged works. Since Picasso left no
will, his death duties (estate tax) to the French state were paid in the
form of his works and others from his collection. These works form the
core of the immense and representative collection of the Musée Picasso in Paris. In 2003, relatives of Picasso
inaugurated a museum dedicated to him in his birthplace, Málaga, Spain,
the Museo Picasso Málaga.
The Museu Picasso in Barcelona
features many of Picasso’s early works, created while he was living in
Spain, including many rarely seen works which reveal Picasso’s firm
grounding in classical techniques. The museum also holds many precise
and detailed figure studies done in his youth under his father’s
tutelage, as well as the extensive collection of Jaime Sabartés,
Picasso’s close friend and personal secretary.
Several paintings by Picasso rank among the most expensive paintings in the
world. Garçon à la pipe sold for US$104
million at Sotheby's on 4 May 2004, establishing a new price
record. Dora Maar au Chat sold for US$95.2
million at Sotheby’s on 3 May 2006.[46]
On 4 May 2010, Nude, Green Leaves and Bust
was sold at Christie's for $106.5 million. The 1932 work,
which depicts Picasso's mistress Marie-Thérèse Walter reclining and as a
bust, was in the personal collection of Los Angeles philanthropist
Frances Lasker Brody, who died in November 2009. Christie's won the
rights to auction the collection against London-based Sotheby's.
The collection as a whole was valued at over $150 million, while the
work was originally expected to earn $80 million at auction.[47]
There were more than half a dozen bidders, while the winning bid was
taken via telephone.[48]
[49]
The previous auction record ($104.3 million) was set in February 2010,
by Alberto Giacometti's Walking Man I.[50]
As of 2004, Picasso remains the top ranked artist (based on sales of
his works at auctions) according to the Art Market Trends report.[51]
More of his paintings have been stolen than those by any other artist.[52]
Picasso is the world's most stolen artist, the Art Loss Register has 550 of his works listed as missing.[53]
The Picasso Administration functions as his official Estate. The U.S.
copyright representative for the Picasso Administration is the Artists Rights Society.[54]
Upon Picasso's death in 1973, actor Dustin Hoffman was having dinner with former Beatle Paul McCartney and told him about Picasso's last words.
McCartney started creating and singing a song around those words and
included the song on his 1973 album, Band on the Run.
In the 1996 movie Surviving Picasso Picasso is played by actor Anthony Hopkins.
Between October 8, 2010 and January 9, 2011, an exhibition of 150
paintings, sculptures, drawings, prints and photographs from the Museé
National Picasso in Paris will be on display at the Seattle Art Museum.
This will be their first and perhaps their last appearance in the U.S.
as the Museé National Picasso is being remodeled. Details are available
at:
http://www.seattleartmuseum.org/exhibit/exhibitDetail.asp?eventID=18788
Notes
- ^ On-line Picasso Project
- ^
The name on his baptismal certificate differs slightly from the name on
his birth record. On-line Picasso Project
- ^
Hamilton, George H. (1976). "Picasso, Pablo
Ruiz Y". in William D. Halsey. Collier's Encyclopedia. 19.
New York: Macmillan Educational Corporation. pp. 25–26.
- ^
Wertenbaker, 9.
- ^
Wertenbaker, 11.
- ^ a
b
"Picasso: Creator and Destroyer -
88.06". Theatlantic.com. http://www.theatlantic.com/unbound/flashbks/picasso/destroy.htm. Retrieved 21 December 2009.
- ^ a
b
Wertenbaker, 13.
- ^ Portrait of Gertrude Stein
Metropolitan Museum, Retrieved 26 November 2008
- ^
Cirlot, 1972, p. 125.
- ^ Pablo Picasso, Portrait of Allan
Stein, 1906, retrieved 27 November 2008
- ^ Special Exhibit Examines Dynamic Relationship
Between the Art of Pablo Picasso and Writing Yale University Art
Gallery, Retrieved 8 October 2009
- ^ James R. Mellow, Charmed
Circle: Gertrude Stein and Company, Retrieved 27 November 2008
- ^ Cubism and its Legacy, Tate
Liverpool, retrieved 27 November 2008
- ^
Time Magazine, Stealing the Mona Lisa, 1911. Consulted on 15
August 2007.
- ^ Charles Harrison, Francis
Frascina, Gillian Perry, Primitivism, Cubism, Abstraction,
retrieved 27 November 2008
- ^
Kendall, L. R., Pablo Picasso (1881-1973): The Charnel House in Pieces...
Occasional and Various April 2010 (http://piecesoav.blogspot.com/2010/04/pablo-picasso-1881-1973-charnel-house.html)
- ^
Françoise Gilot and Carlton Lake, Life with Picasso, Random
House, Trade Paperback, 352 pages. May 1989. ISBN 0-385-26186-1; first
published in November, 1964.
- ^ accessed online 15 August 2007
- ^ The Rich Die Richer and You Can
too, by William D. Zabel, Published 1996 John Wiley and Sons, p.11. ISBN 0-471-15532-2 Accessed
online 15 August 2007
- ^ Picasso's Family Album,
Michael Kimmelman, New York Times, retrieved 28 November 2008
- ^ Picasso’s Party Line, ARTnews Retrieved
31 May 2007.
- ^ Ashton, Dore and Pablo Picasso (1988). Picasso
on Art: A Selection of Views. Da Capo Press. p. 140. ISBN 0306803305.
- ^ Failed attempts at correspondence
between Dalí and Picasso
- ^ Picasso by Dalí
- ^ Study on Salvador Dalí
- ^ Salvador Dalí quotes
- ^ Dalí "sympathetic"?
- ^ De El Greco a Salvador Dalí,
Pasando por Picasso
- ^ Article on Dalí in El Mundo
- ^ Charlotte Higgins (2010-5-28). "Picasso nearly risked his
reputation for Franco exhibition". The
Guardian (Guardian News and Media). http://www.guardian.co.uk/artanddesign/2010/may/28/picasso-franco-exhibition.
- ^ Picasso
A Retrospective, Museum of Modern Art, edited by William Rubin,
copyright MoMA 1980, p.383
- ^
Art Explained, by Robert Cumming, DK Publishing, 2007, ISBN 978-0-7566-2869-7, pg 98
- ^
The MoMA retrospective of 1939–40 — see Michael C. FitzGerald, Making Modernism: Picasso
and the Creation of the Market for Twentieth-Century Art (New York:
Farrar, Straus and Giroux, 1995; Berkeley: University of California
Press, 1996), pp. 243–262.
- ^
Cirlot,1972, p.6.
- ^
Cirlot, 1972, p. 14.
- ^
Cirlot, 1972, p.37.
- ^
Cirlot, 1972, p. 87–108.
- ^
Cirlot, 1972, p.127.
- ^ La Vie, Cleveland Museum of
Art retrieved 11 March 2010
- ^
Wattenmaker, Distel, et al.,1993, p. 304.
- ^ The Frugal Repast,
Metropolitan Museum of Art retrieved 11 March 2010
- ^
Wattenmaker, Distel, et al.,1993, p. 194.
- ^ "Guernica Introduction".
Pbs.org. http://www.pbs.org/treasuresoftheworld/guernica/gmain.html. Retrieved 21 December 2009.
- ^ The Spanish Wars of Goya and
Picasso, Costa Tropical News Retrieved June 4, 2010
- ^ On-line
Picasso Project, citing Selfridge, John, 1994.
- ^ "Picasso portrait sells for $95.2
million". http://msnbc.msn.com/id/12627809/. Retrieved 4 May 2006.
- ^ Christie’s Wins Bid to Auction $150
Million Brody Collection New York Times
- ^ http://www.today.msnbc.msn.com/id/36950780/ns/today-entertainment/
- ^ Yahoo news Picasso sells for 106.5
million Retrieved 5 May 2010
- ^ http://artsbeat.blogs.nytimes.com/2010/05/04/picasso-sold-at-auction-for-106-5-million-a-world-record/?src=mv
- ^ (pdf) Art Market Trends report
- ^
S. Goodenough, 1500 Fascinating Facts, Treasure Press, London, 1987, p
241.
- ^ Revealed: The extraordinary
security blunders behind Paris art gallery heist The Daily Mail
- ^ http://arsny.com/requested.html | Most frequently
requested artists list of the Artists Rights Society
References
- Becht-Jördens, Gereon; Wehmeier, Peter M. (2003). Picasso und die
christliche Ikonographie. Mutterbeziehung und künstlerische Position.
Berlin: Dietrich Reimer Verlag. ISBN 978-3-496-01272-6
- Berger, John (1965). The Success and Failure of Picasso.
Harmondsworth: Penguin Books.
- Cirlot, Juan-Eduardo (1972). Picasso: birth of a genius. New
York and Washington: Praeger.
- Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground:
Picasso, Léger, de Chirico and the New Classicism 1910–1930. London:
Tate Gallery. ISBN 1-85437-043-X
- Daix, Pierre (1993). Picasso: Life And Art. Harper Collins. ISBN 978-0-06-430976-9
- FitzGerald, Michael C. Making
Modernism: Picasso and the Creation of the Market for Twentieth-Century
Art. New York: Farrar, Straus and Giroux, 1995; Berkeley: University
of California Press, 1996.
- Eugenio Granell, Picasso’s Guernica : the end of
a Spanish era (Ann Arbor, Mich. : UMI Research Press, 1981) ISBN 0-8357-1206-0 9780835712064
9780835712064 0835712060
- Krauss, Rosalind (1998). The Picasso Papers. London: Thames
and Hudson. ISBN 0-500-23761-1
- Mallen, Enrique (2003). The Visual Grammar of Pablo Picasso.
Berkeley Insights in Linguistics & Semiotics Series. New York: Peter
Lang.
- Mallen, Enrique (2005). La Sintaxis de la Carne: Pablo Picasso y
Marie-Thérèse Walter. Santiago de Chile: Red Internacional del
Libro.
- Mallen, Enrique (2009). A Concordance of Pablo Picasso's Spanish
Writings. New York: Edwin Mellen Press.
- Nill, Raymond M. “A Visual Guide to Pablo Picasso’s Works”. New
York: B&H Publishers, 1987.
- Picasso, Olivier Widmaier. (2004). Picasso: The Real Family Story.
Prestel Publ. ISBN 3-7913-3149-3
- Rubin, William, ed. (1980) Pablo Picasso, a retrospective.
Chronology by Jane Fluegel. New York: The Museum of Modern Art. ISBN 0-87070-519-9
- Wattenmaker, Richard J.; Distel, Anne, et al. (1993). Great
French Paintings from the Barnes Foundation. New York: Alfred A.
Knopf. ISBN 0-679-40963-7
- Wertenbaker, Lael (1967). The World of Picasso. Time–Life
Library of Art. Alexandria, Virginia: Time-Life Books.
External links
Museums
- Guggenheim Museum Biography
- Hilo Art Museum, (Hilo Hawaii, USA)
- Honolulu Academy of Arts
- Metropolitan Museum of Art (New
York, USA)
- Musée National Picasso (Paris, France)
- Musée Picasso (Antibes, France)
- Museo Picasso Málaga (Málaga, Spain)
- Museu Picasso (Barcelona, Spain)
- Museum Berggruen (Berlin, Germany)
- Museum of Modern Art (MoMA) (New
York, USA)
- National Gallery of Art list of
paintings
- Graphikmuseum Pablo Picasso Münster
(Münster, Germany)
- Los Angeles County Museum of Art
(LACMA) (Los Angeles, California)
- Sammlung + Picasso Donation Rosengart (Lucerne,
Switzerland)
Essays
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Pablo Picasso 
