View source for Pablo Picasso

{{Short description|Spanish painter and sculptor (1881–1973)}}
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{{Infobox artist
| name             = Pablo Picasso
| image            = Pablo picasso.jpg
| caption          = Picasso in 1962
| alt              = Black-and-white photo of Picasso in a coat
| birth_name       = Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso<ref name="CatRez">{{cite book |last1=Daix |first1=Pierre |title=Picasso, 1900–1906: catalogue raisonné de l'oeuvre peint |year=1988 |publisher=Editions Ides et Calendes |pages=1–106 |url=https://books.google.com/books?id=MlNGAQAAIAAJ |language=fr}}</ref>
| birth_date       = {{birth date|df=yes|1881|10|25}}
| birth_place      = [[Málaga]], Spain
| death_date       = {{death date and age|df=yes|1973|4|8|1881|10|25}}
| death_place      = [[Mougins]], France
| resting_place    = [[Château of Vauvenargues]]
| resting_place_coordinates = {{Coord|43.554142|5.604438|region:FR-13_type:landmark}}
| field            = [[Painting]], [[drawing]], [[sculpture]], [[printmaking]], [[Ceramics (art)|ceramics]], [[Scenic design|stage design]], [[writing]]
| training         = {{plainlist|
* [[Real Academia de Bellas Artes de San Fernando]]}}
| years_active     = 1897–1973
| movement         = [[Cubism]], [[Surrealism]]
| works            = {{plainlist|
* ''[[La Vie (painting)|La Vie]]'' (1903)
* ''[[The Old Guitarist]]'' (1903–1904)
* ''[[Family of Saltimbanques]]'' (1905)
* ''[[Les Demoiselles d'Avignon]]'' (1907)
* ''[[Portrait of Daniel-Henry Kahnweiler]]'' (1910)
* ''[[Three Musicians (Picasso)|Three Musicians]]'' (1921)
* ''[[Girl before a Mirror]]'' (1932)
* ''[[Le Rêve (Picasso)|Le Rêve]]'' (1932)
* ''[[Guernica (Picasso)|Guernica]]'' (1937)
* ''[[The Weeping Woman]]'' (1937)
* [[Chicago Picasso]] (1967)}}
| patrons          = {{plainlist|
* [[Eugenia Errázuriz]]
* [[Sergei Shchukin]]
* [[Gertrude Stein]]}}
| father           = [[José Ruiz y Blasco]]
| mother           = María Picasso y López
| spouse           = {{plainlist|
* {{marriage|[[Olga Khokhlova]]|1918|1941|end=sep.}}
* {{marriage|[[Jacqueline Roque]]|1961}}}}
| partner          = {{plainlist|
* [[Fernande Olivier]] (1905–1912)
* [[Eva Gouel]] (1912–1915)
* [[Gabrielle Depeyre]] (1915–1916)
* Irène Lagut (1916–1917)
* [[Marie-Thérèse Walter]] (1927–1935)
* [[Dora Maar]] (1935–1943)
* [[Françoise Gilot]] (1943–1953)}}
| children         = {{plainlist|
* [[Paulo Picasso]]
* [[Maya Widmaier-Picasso]]
* [[Claude Picasso]]
* [[Paloma Picasso]] }}
| family           = {{plainlist|
* [[Marina Picasso]] (granddaughter)
* [[Bernard Ruiz-Picasso]] (grandson)}}
| awards           = {{plainlist|
* [[Lenin Peace Prize]]}}
| module           = {{Infobox person|child = yes
  |signature = Picasso Signatur-DuMont 1977.svg
  |module = {{Listen|pos=center|embed=yes|filename=10 PABLO PICASO.ogg|title=Pablo Picasso's voice|type=speech|description=Recorded c. 1960s}}
  }}
}}

'''Pablo Ruiz Picasso'''{{efn|Pronounced {{IPAc-en|UK|ˈ|p|æ|b|l|oʊ|_|p|ɪ|ˈ|k|æ|s|oʊ}}, {{IPAc-en|US|ˈ|p|ɑː|b|l|oʊ|_|p|ɪ|ˈ|k|ɑː|s|oʊ|,_|-|ˈ|k|æ|s|-}};<ref name="Collins"/><ref name="Oxford"/><ref name="AHD"/> {{IPA|es|ˈpaβlo piˈkaso|lang}}.}}{{efn|name="names"|{{Family name explanation|Ruiz|Picasso|lang=Spanish}} Picasso's full name includes various saints and relatives. According to his birth certificate, issued on 28 October 1881, he was born '''Pablo Diego José Francisco de Paula Juan Nepomuceno Cipriano de la Santísima Trinidad Ruiz Picasso'''.<ref name="PCp15">{{cite book |last1=Cabanne |first1=Pierre |title=Pablo Picasso: His Life and Times |date=1977 |publisher=Morrow |isbn=978-0-688-03232-6 |page=15 |url=https://books.google.com/books?id=H-DqAAAAMAAJ |language=en}}</ref> According to the record of his baptism, he was named '''Pablo Diego José Francisco de Paula Juan Nepomuceno Crispín Cipriano''' (other sources: '''Crispiniano''') '''de la Santísima Trinidad María de los Remedios Alarcón y Herrera Ruiz Picasso'''.<ref name="fullname" /><ref name="PCp15" /><ref>{{cite book |last1=Lyttle |first1=Richard B. |title=Pablo Picasso: The Man and the Image |date=1989 |publisher=Atheneum |isbn=978-0-689-31393-6 |page=2 |url=https://books.google.com/books?id=vbZIAQAAIAAJ |language=en}}</ref> He was named Juan Nepomuceno after his godfather, a lawyer, friend of the family, called Juan Nepomuceno Blasco y Barroso.<ref name="PCp15" /> He was named Crispín Cipriano after the [[Saint Crispin's Day|twin saints celebrated on 25 October]], his birth date.<ref name="fullname" /> Nepomuceno's wife and Picasso's godmother, María de los Remedios Alarcón y Herrera, was also honored in Picasso's baptismal name.<ref name="PCp15" />}} (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, [[printmaker]], [[Ceramic art|ceramicist]], and [[Scenic design|theatre designer]] who spent most of his adult life in [[France]]. One of the most influential artists of the 20th century, he is known for co-founding the [[Cubist]] movement, the invention of [[Assemblage (art)|constructed sculpture]],<ref name="moma4"/><ref name="tate1"/> the co-invention of [[collage]], and for the wide variety of styles that he helped develop and explore. Among his most famous works are the [[Proto-Cubism|proto-Cubist]] ''[[Les Demoiselles d'Avignon]]'' (1907) and the anti-war painting ''[[Guernica (Picasso)|Guernica]]'' (1937), a dramatic portrayal of the [[bombing of Guernica]] by German and Italian air forces during the [[Spanish Civil War]].

Beginning his formal training under his father [[José Ruiz y Blasco]] aged seven, Picasso demonstrated extraordinary artistic talent from a young age, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the [[Fauvist]] work of the older artist [[Henri Matisse]] motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of [[modern art]].<ref name="tate0"/><ref name="fran5"/><ref name="guar6"/><ref name="k12ok"/>

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

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

== Early life ==
[[File:Pablo Picasso with his sister Lola, 1889.jpg|thumb|upright |left|Picasso with his sister Lola, 1889]]
Picasso was born at 23:15 on 25 October 1881, in the city of [[Málaga]], Andalusia, in southern Spain.<ref name="PCp15"/> He was the first child of [[José Ruiz y Blasco]] (1838–1913) and María Picasso y López.<ref name="collier"/> Picasso's family was of middle-class background. His father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life, Ruiz was a professor of art at the School of Crafts and a [[curator]] of a local museum.<ref name="CatRez"/>

Picasso's birth certificate and the record of his baptism include very long names, combining those of various saints and relatives.{{efn|name="names"}}{{efn|Though baptized a Catholic, Picasso would later become an atheist.<ref name="thepi"/>}} ''Ruiz y Picasso'' were his paternal and maternal surnames, respectively, per Spanish custom. The surname "Picasso" comes from [[Liguria]], a coastal region of north-western Italy.<ref name="Fundación Picasso"/> Pablo's maternal great-grandfather, Tommaso Picasso, moved to Spain around 1807.<ref name="Fundación Picasso"/>

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".<ref name="Wert9"/> 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.<ref>{{Cite web |title=15 Pablo Picasso Fun Facts |url=https://www.pablopicasso.org/picasso-facts.jsp |access-date=22 September 2023 |website=www.pablopicasso.org}}</ref>

The family moved to [[A Coruña]] in 1891, where his father became a professor at the School of Fine Arts. They stayed for almost four years. On one occasion, the father found his son painting over his unfinished sketch of a pigeon. Observing the precision of his son's technique, an apocryphal story relates, Ruiz felt that the thirteen-year-old Picasso had surpassed him, and vowed to give up painting,<ref name="wert11"/> though paintings by him exist from later years.<ref>{{Cite web |title=15 Pablo Picasso Fun Facts |url=https://www.pablopicasso.org/picasso-facts.jsp |access-date=22 September 2023 |website=www.pablopicasso.org}}</ref>

In 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of [[diphtheria]].<ref name="theatlantic.com"/> After her death, the family moved to [[Barcelona]], where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home.<ref name="w13"/> Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, and the jury admitted him, at just 13. As a student, Picasso lacked discipline but made friendships that would affect him in later life. His father rented a small room for him close to home so he could work alone, yet he checked up on him numerous times a day, judging his drawings. The two argued frequently.<ref name="caval"/>

Picasso's father and uncle decided to send the young artist to Madrid's [[Real Academia de Bellas Artes de San Fernando]], the country's foremost art school.<ref name="w13"/> At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrollment. Madrid held many other attractions. The [[Museo del Prado|Prado]] housed paintings by [[Diego Velázquez]], [[Francisco Goya]], and [[Francisco de Zurbarán]]. Picasso especially admired the works of [[El Greco]]; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso's later work.<ref name="propos"/>

== Career ==
=== Before 1900 ===
[[File:Pablo Picasso, 1904, Paris, photograph by Ricard Canals i Llambí cut.jpg|thumb|upright|Picasso in 1904. Photograph by [[Ricard Canals]]]]
Picasso's training under his father began before 1890. His progress can be traced in the collection of early works now held by the [[Museu Picasso]]<!--MUSEU is not a typo--> in [[Barcelona]], which provides one of the most comprehensive extant records of any major artist's beginnings.<ref name="cirl6"/> 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.<ref name="cirl14"/> 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 ''[https://www.wikiart.org/en/pablo-picasso/portrait-of-aunt-pepa-1896 Portrait of Aunt Pepa]'', a vigorous and dramatic portrait that [[Juan Eduardo Cirlot|Juan-Eduardo Cirlot]] has called "without a doubt one of the greatest in the whole history of Spanish painting."<ref name="cirl37"/>

In 1897, his realism began to show a [[Symbolism (arts)|Symbolist]] influence, for example, in a series of landscape paintings rendered in non-naturalistic violet and green tones. What some call his Modernist period (1899–1900) followed. His exposure to the work of [[Dante Gabriel Rossetti|Rossetti]], [[Théophile Steinlen|Steinlen]], [[Henri de Toulouse-Lautrec|Toulouse-Lautrec]] and [[Edvard Munch]], combined with his admiration for favourite old masters such as [[El Greco]], led Picasso to a personal version of modernism in his works of this period.<ref name="cirl87"/>

Picasso made his first trip to [[Paris]], then the art capital of Europe, in 1900. There, he met his first Parisian friend, journalist and poet [[Max Jacob]], who helped Picasso learn the language and its literature. Soon they shared an apartment; Max slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation. Much of his work was burned to keep the small room warm. During the first five months of 1901, Picasso lived in [[Madrid]], where he and his [[anarchist]] friend Francisco de Asís Soler founded the magazine ''Arte Joven'' (''Young Art''), which published five issues. Soler solicited articles and Picasso illustrated the journal, mostly contributing grim cartoons depicting and sympathizing with the state of the poor. The first issue was published on 31 March 1901, by which time the artist had started to sign his work ''Picasso''.<ref name="cirl125"/> From 1898 he signed his works as "Pablo Ruiz Picasso", then as "Pablo R. Picasso" until 1901. The change does not seem to imply a rejection of the father figure. Rather, he wanted to distinguish himself from others; initiated by his Catalan friends who habitually called him by his maternal surname, much less current than the paternal Ruiz.<ref>Fermigier, André (1969). ''Picasso'', Le Livre de Poche, Série Art. Paris, Librairie Génerale Française, p. 9, {{ISBN|2-253-02455-4}}.</ref>

=== Blue Period: 1901–1904 ===
{{details|Picasso's Blue Period}}
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| caption1 = ''[[La Vie (painting)|La Vie]]'' (1903), [[Cleveland Museum of Art]]
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| caption2 = ''[[The Old Guitarist]]'' (1903), [[Art Institute of Chicago]]
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Picasso's Blue Period (1901–1904), characterized by sombre paintings rendered in shades of blue and blue-green only occasionally warmed by other colours, began either in Spain in early 1901 or in Paris in the second half of the year.<ref name="cirl127"/> Many paintings of gaunt mothers with children date from the Blue Period, during which Picasso divided his time between [[Barcelona]] and Paris. In his austere use of colour and sometimes doleful subject matter – prostitutes and beggars are frequent subjects – Picasso was influenced by a trip through Spain and by the suicide of his friend [[Carles Casagemas]]. Starting in autumn of 1901, he painted several posthumous portraits of Casagemas culminating in the gloomy allegorical painting ''[[La Vie (painting)|La Vie]]'' (1903), now in the [[Cleveland Museum of Art]].<ref name="watte"/>

The same mood pervades the well-known etching ''The Frugal Repast'' (1904),<ref name="metmu"/> which depicts a blind man and a sighted woman, both emaciated, seated at a nearly bare table. Blindness, a recurrent theme in Picasso's works of this period, is also represented in ''The Blindman's Meal'' (1903, the [[Metropolitan Museum of Art]]) and in the portrait of ''Celestina'' (1903). Other Blue Period works include ''Portrait of Soler'' and ''[[Portrait of Suzanne Bloch]]''.

=== Rose Period: 1904–1906 ===
{{details|Picasso's Rose Period}}
[[File:Pablo Picasso, 1905, Au Lapin Agile (At the Lapin Agile), oil on canvas, 99.1 x 100.3 cm, Metropolitan Museum of Art.jpg|thumb|Pablo Picasso, 1905, ''[[Au Lapin Agile]]'' (''At the Lapin Agile'') (''Arlequin tenant un verre''), oil on canvas, 99.1 × 100.3&nbsp;cm, [[Metropolitan Museum of Art]]]]

The Rose Period (1904–1906)<ref name="Watte194"/> is characterized by a lighter tone and style utilizing orange and pink colours and featuring many circus people, [[Family of Acrobats (study)|acrobats]] and [[harlequin]]s 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 [[Bohemianism|bohemian]] artist who became his mistress, in Paris in 1904.<ref name="theatlantic.com"/> Olivier appears in many of his Rose Period paintings, many of which are influenced by his warm relationship with her, in addition to his increased exposure to French painting. The generally upbeat and optimistic mood of paintings in this period is reminiscent of the 1899–1901 period (i.e., just prior to the Blue Period), and 1904 can be considered a transition year between the two periods.

[[File:GertrudeStein.JPG|thumb|left|''[[Portrait of Gertrude Stein]]'', 1906, [[Metropolitan Museum of Art]], New York City. When someone commented that Stein did not look like her portrait, Picasso replied, "She will".<ref name="metmu2"/>]]

By 1905, Picasso became a favourite of American art collectors [[Leo Stein|Leo]] and [[Gertrude Stein]]. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted a [[portrait of Gertrude Stein]] and one of her nephew [[Allan Stein]]. Gertrude Stein became Picasso's principal patron, acquiring his drawings and paintings and exhibiting them in her informal ''Salon'' at her home in Paris.<ref name="yale8"/> 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's and Matisse's paintings. Eventually, Leo Stein moved to Italy. Michael and Sarah Stein became patrons of Matisse, while Gertrude Stein continued to collect Picassos.<ref name="charm"/>

In 1907, Picasso joined an art gallery that had recently been opened in Paris by [[Daniel-Henry Kahnweiler]], a German art historian and art collector who became one of the premier French art dealers of the 20th century. He was among the first champions of Pablo Picasso, [[Georges Braque]] and the [[Cubism]] that they jointly developed. Kahnweiler promoted burgeoning artists such as [[André Derain]], [[Kees van Dongen]], [[Fernand Léger]], [[Juan Gris]], [[Maurice de Vlaminck]] and several others who had come from all over the globe to live and work in [[Montparnasse]] at the time.<ref name="tate7"/>

=== African art and primitivism: 1907–1909 ===
{{See also|Picasso's African Period|Proto-Cubism}}
[[File:Les Demoiselles d'Avignon.jpg|thumb|right|''[[Les Demoiselles d'Avignon]]'' (1907), [[Museum of Modern Art]], New York]]
Picasso's African-influenced Period (1907–1909) begins with his painting ''[[Les Demoiselles d'Avignon]]''. The three figures on the left were inspired by [[Iberian sculpture]], but he repainted the faces of the two figures on the right after being powerfully impressed by African artefacts he saw in June 1907 in the ethnographic museum at [[Palais du Trocadéro]].<ref name="rube87"/> When he displayed the painting to acquaintances in his studio later that year, the nearly universal reaction was shock and revulsion; Matisse angrily dismissed the work as a hoax.<ref name="pbsor"/> Picasso did not exhibit ''Les Demoiselles'' publicly until 1916.

Other works from this period include ''Nude with Raised Arms'' (1907) and ''Three Women'' (1908). Formal ideas developed during this period lead directly into the Cubist period that follows.<ref name="Watte207"/>
Analytic [[cubism]] (1909–1912) is a style of painting Picasso developed with [[Georges Braque]] using monochrome brownish and neutral colours. Both artists took apart objects and "analyzed" them in terms of their shapes. Picasso and Braque's paintings at this time share many similarities.<ref name="retro123"/>

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]]. In 1911, Picasso was arrested and questioned about [[Mona Lisa#Refuge, theft, and vandalism|the theft of the ''Mona Lisa'']] from the [[Louvre]]. Suspicion for the crime had initially fallen upon Apollinaire due to his links to Géry Pieret, an artist with a history of thefts from the gallery. Apollinaire in turn implicated his close friend Picasso, who had also purchased stolen artworks from the artist in the past. Afraid of a conviction that could result in his deportation to Spain, Picasso denied having ever met Apollinaire. Both were later cleared of any involvement in the painting's disappearance.<ref name="thief"/><ref name="TIME - 08Apr2009 - Art's Great Whodunit: The Mona Lisa Theft of 1911"/>

=== Synthetic cubism: 1912–1919 ===
{{main|Crystal Cubism}}
[[File:Pablo Picasso, summer 1912.jpg|thumb|upright|Picasso in front of his painting ''The Aficionado'' ([[Kunstmuseum Basel]]) at Villa les Clochettes, summer 1912]]
Synthetic cubism (1912–1919) was a further development of the genre of cubism, in which cut paper fragments&nbsp;– often wallpaper or portions of newspaper pages&nbsp;– were pasted into compositions, marking the first cubist [[collage]] and simultaneously what is often considered to be the first [[Assemblage (art)|assemblage]], with his creation of the seminal work ''[[Still Life with Chair Caning]]'' (1912; oil and printed [[oilcloth]] 
on canvas edged with [[rope]]).<ref>{{cite web | title=Still Life with Chair Caning | website=The Metropolitan Museum of Art | date=1912 | url=https://www.metmuseum.org/art/collection/search/755493 }}</ref><ref>{{cite web | title=The Art of Assemblage | website=The Museum of Modern Art | date=1961-10-04 | url=https://www.moma.org/calendar/exhibitions/1880 }}</ref>

Between 1915 and 1917, Picasso began a series of paintings depicting highly geometric and minimalist Cubist objects, consisting of either a pipe, a guitar or a glass, with an occasional element of collage. "Hard-edged square-cut diamonds", notes art historian [[John Richardson (art historian)|John Richardson]], "these gems do not always have upside or downside".<ref name="Richardson"/><ref name="kahn18"/> "We need a new name to designate them," wrote Picasso to [[Gertrude Stein]]. The term "[[Crystal Cubism]]" was later used as a result of visual analogies with crystals at the time.<ref name="Green, 1987" /><ref name="Richardson" /><ref name="moran143"/> These "little gems" may have been produced by Picasso in response to critics who had claimed his defection from the movement, through his experimentation with classicism within the so-called [[return to order]] following the war.<ref name="Richardson" /><ref name="Green, 1987"/>

After acquiring some fame and fortune, Picasso left Olivier for Marcelle Humbert, also known as [[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.<ref name="primi"/>

At the outbreak of [[World War I]] in August 1914, Picasso was living in [[Avignon]]. Braque and Derain were mobilized and Apollinaire joined the French artillery, while the Spaniard [[Juan Gris]] remained from the Cubist circle. During the war, Picasso was able to continue painting uninterrupted, unlike his French comrades. His paintings became more sombre and his life changed with dramatic consequences. Kahnweiler's contract had terminated on his exile from France. At this point, Picasso's work would be taken on by the art dealer [[Léonce Rosenberg]]. After the loss of Eva Gouel, Picasso had an affair with [[Gabrielle Lespinasse|Gaby Lespinasse]]. During the spring of 1916, Apollinaire returned from the front wounded. They renewed their friendship, but Picasso began to frequent new social circles.<ref name="moma92"/>

[[File:Costume design by Pablo Picasso representing skyscrapers and boulevards, for Serge Diaghilev's Ballets Russes performance of Parade at Théâtre du Châtelet, Paris 18 May 1917.jpg|thumb|upright|Costume design by Pablo Picasso representing skyscrapers and boulevards, for [[Serge Diaghilev]]'s [[Ballets Russes]] performance of ''[[Parade (ballet)|Parade]]'' at Théâtre du Châtelet, Paris 18 May 1917]]

{{Further|Picasso and the Ballets Russes}}

Towards the end of World War I, Picasso became involved with [[Serge Diaghilev]]'s [[Ballets Russes]]. Among his friends during this period were [[Jean Cocteau]], [[Jean Hugo]], Juan Gris, and others.<ref name = Sakalis>{{Cite news|url=https://www.italymagazine.com/featured-story/when-pablo-picasso-found-himself-italy|title=
When Pablo Picasso Found Himself in Italy|last=Sakalis|first=Alex|date=9 September 2024|work=Italy Magazine|access-date=25 March 2025}}</ref> In the summer of 1918, Picasso married [[Olga Khokhlova]], a ballerina with Sergei Diaghilev's troupe, for whom Picasso was designing a ballet, Erik Satie's ''[[Parade (ballet)|Parade]]'', in Rome; they spent their honeymoon near [[Biarritz]] in the villa of glamorous Chilean art patron [[Eugenia Errázuriz]].<ref name="retro198"/> 

Khokhlova introduced Picasso to high society, formal dinner parties, and other dimensions of the life of the rich in 1920s Paris. The two had a son, [[Paulo Picasso]],<ref name="xtime"/> who would grow up to be a motorcycle racer and chauffeur to his father. Khokhlova's insistence on social propriety clashed with Picasso's [[Bohemianism|bohemian]] tendencies and the two lived in a state of constant conflict. During the same period that Picasso collaborated with Diaghilev's troupe, he and [[Igor Stravinsky]] collaborated on ''[[Pulcinella (ballet)|Pulcinella]]'' in 1920. Picasso took the opportunity to make several drawings of the composer.<ref name="cubis"/> In the summer of 1921, Picasso, Khokhlova and Paulo stayed at a villa in the village of [[Fontainebleau, France]]; during their time there, Picasso, using the garage as a studio, painted ''[[Three Women at the Spring (Picasso)|Three Women at the Spring]]'' and ''[[Three Musicians (Picasso)|Three Musicians]]''.<ref>{{cite web |title=Picasso in Fontainebleau |url=https://www.moma.org/calendar/exhibitions/5530}}</ref><ref name="pma" >{{Cite web |title=Collections Object: ''Three Musicians'' Pablo Ruiz y Picasso, Spanish, 1881–1973 |url=http://www.philamuseum.org/collections/permanent/53963.html |publisher=[[Philadelphia Museum of Art]] |access-date=16 August 2017}}</ref>

<gallery widths="170" heights="180" class="center">
File:Pablo Picasso, 1909, Femme assise (Sitzende Frau), oil on canvas, 100 x 80 cm, Staatliche Museen zu Berlin, Neue Nationalgalerie.jpg|1909, ''Femme assise (Sitzende Frau)'', oil on canvas, 100 × 80&nbsp;cm (39 × 31 in), [[Berlin State Museums|Staatliche Museen]], [[Neue Nationalgalerie]], Berlin
File:Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm, Tate Modern, London.jpg|1909–10, ''Figure dans un Fauteuil (Seated Nude, Femme nue assise)'', oil on canvas, 92.1 × 73&nbsp;cm (36 × 28 in), [[Tate Modern]], London. This painting from the collection of [[Wilhelm Uhde]] was confiscated by the French state and sold at the [[Hôtel Drouot]] in 1921.
File:Pablo Picasso, 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 x 60 cm, Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913.jpg|1910, ''Woman with Mustard Pot (La Femme au pot de moutarde)'', oil on canvas, 73 × 60&nbsp;cm (28 × 23 in), Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913
File:Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm, Museum of Modern Art New York..jpg|1910, ''[[Girl with a Mandolin|Girl with a Mandolin (Fanny Tellier)]]'', oil on canvas, 100.3 × 73.6&nbsp;cm (39 × 28 in), [[Museum of Modern Art]], New York
File:Picasso Portrait of Daniel-Henry Kahnweiler 1910.jpg|1910, ''[[Portrait of Daniel-Henry Kahnweiler]]'', [[The Art Institute of Chicago]]. Picasso wrote of Kahnweiler "What would have become of us if Kahnweiler hadn't had a business sense?"
File:Pablo Picasso, 1910-11, Guitariste, La mandoliniste, Woman playing guitar, oil on canvas.jpg|1910–11, ''Guitariste, La mandoliniste (Woman playing guitar or mandolin)'', oil on canvas
File:Pablo Picasso, c.1911, Le Guitariste.jpg|{{circa|1911}}, ''Le Guitariste''. Reproduced in [[Albert Gleizes]] and [[Jean Metzinger]], ''[[Du "Cubisme"]]'', 1912
File:Pablo Picasso, 1911, Still Life with a Bottle of Rum, oil on canvas, 61.3 x 50.5 cm, Metropolitan Museum of Art, New York.jpg|1911, ''Still Life with a Bottle of Rum'', oil on canvas, 61.3 × 50.5&nbsp;cm (24 × 19 in), [[Metropolitan Museum of Art]], New York
File:Pablo Picasso, 1911, The Poet (Le poète), Céret, oil on linen, 131.2 × 89.5 cm, The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice.jpg|1911, ''The Poet (Le poète)'', oil on linen, 131.2 × 89.5&nbsp;cm (51 5/8 × 35 1/4 in), The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice
File:Pablo Picasso, 1911-12, Violon (Violin), oil on canvas, Kröller-Müller Museum, Otterlo, Netherlands.jpg|1911–12, ''Violon (Violin)'', oil on canvas, 100 × 73&nbsp;cm (39 × 28 in) (oval), Kröller-Müller Museum, Otterlo, Netherlands. This painting from the collection of [[Wilhelm Uhde]] was confiscated by the French state and sold at the [[Hôtel Drouot]] in 1921.
File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg|1913, ''Bouteille, clarinet, violon, journal, verre'', 55 × 45&nbsp;cm (21 × 17 in). This painting from the collection of [[Wilhelm Uhde]] was confiscated by the French state and sold at the Hôtel Drouot in 1921.
File:Pablo Picasso, 1913-14, Woman in a Chemise in an Armchair, oil on canvas, 149.9 x 99.4 cm, Metropolitan Museum of Art.jpg|1913, ''Femme assise dans un fauteuil (Eva), Woman in a Chemise in an Armchair'', oil on canvas, 149.9 × 99.4&nbsp;cm (59 × 39 in), Leonard A. Lauder Cubist Collection, [[Metropolitan Museum of Art]]
File:Pablo Picasso, 1913-14, Head (Tête), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 x 33 cm, Scottish National Gallery of Modern Art, Edinburgh.jpg|1913–14, ''Head (Tête)'', cut and pasted coloured paper, gouache and charcoal on paperboard, 43.5 × 33&nbsp;cm (17 × 12.9 in), [[Scottish National Gallery of Modern Art]], Edinburgh
File:Pablo Picasso, 1913-14, L'Homme aux cartes (Card Player), oil on canvas, 108 x 89.5 cm, Museum of Modern Art, New York.jpg|1913–14, ''L'Homme aux cartes (Card Player)'', oil on canvas, 108 × 89.5&nbsp;cm (42 × 35 in), [[Museum of Modern Art]], New York
File:Pablo Picasso, 1914-15, Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 63.5 x 78.7 cm (25 x 31 in), Columbus Museum of Art, Ohio.jpg|1914–15, ''Nature morte au compotier (Still Life with Compote and Glass)'', oil on canvas, 63.5 × 78.7&nbsp;cm (25 × 31 in), [[Columbus Museum of Art]], Ohio
File:Pablo Picasso, 1916, L'anis del mono (Bottle of Anis del Mono) oil on canvas, 46 x 54.6 cm, Detroit Institute of Arts, Michigan.jpg|1916, ''L'anis del mono (Bottle of Anis del Mono)'', oil on canvas, 46 × 54.6&nbsp;cm (18 × 21 in), [[Detroit Institute of Arts]], Michigan
File:Parade Picasso.jpg|''Parade'', 1917, curtain designed for the ballet ''[[Parade (ballet)|Parade]]''. The work is the largest of Picasso's paintings. [[Centre Pompidou-Metz]], Metz, France, May 2012
</gallery>

=== Neoclassicism and surrealism: 1919–1929 ===
[[File:Pablo Picasso, 1921, Nu assis s'essuyant le pied (Seated Nude Drying her Foot), pastel, 66 x 50.8 cm, Berggruen Museum.jpg|thumb|upright |Pablo Picasso, 1921, ''Nu assis s'essuyant le pied'' (''Seated Nude Drying her Foot''), pastel, 66 × 50.8&nbsp;cm, [[Berggruen Museum]]]]
In February 1917, Picasso made his first trip to Italy.<ref name="Cowling&Mundy_201"/> In the period following the upheaval of World War I, Picasso produced work in a [[neoclassicism|neoclassical]] style. This "[[return to order]]" is evident in the work of many European artists in the 1920s, including [[André Derain]], [[Giorgio de Chirico]], [[Gino Severini]], [[Jean Metzinger]], the artists of the [[New Objectivity]] movement and of the [[Novecento Italiano]] movement. Picasso's paintings and drawings from this period frequently recall the work of [[Raphael]] and [[Jean Auguste Dominique Ingres|Ingres]].<ref>{{Cite book |last=Cowling |first=Elizabeth |url=https://books.google.com/books?id=INnpAAAAMAAJ |title=Picasso: Challenging the Past |date=2009 |publisher=National Gallery |isbn=978-1-85709-452-7 |page=70 |language=en}}</ref>

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

In 1927, Picasso met 17-year-old [[Marie-Thérèse Walter]] and began a long-standing affair with her.<ref>{{Cite web |last=Huffington |first=Arianna |date=1 June 1988 |title=Picasso: Creator and Destroyer |url=https://www.theatlantic.com/magazine/archive/1988/06/picasso-creator-and-destroyer/305715/ |access-date=22 September 2023 |website=The Atlantic |language=en}}</ref> She became his "Golden muse," and he fathered a daughter with her, named Maya.<ref>{{Cite web |last=Borrelli-Persson |first=Laird |date=2018-03-04 |title=Will Picasso's Le Repos, a Portrait of His "Golden Muse," Marie-Thérèse Walter, Be the Sleeper Hit of the Upcoming Auction Season? |url=https://www.vogue.com/article/picasso-portrait-marie-therese-walter-le-repose-to-be-sold-at-sothebys |access-date=2025-04-14 |website=Vogue |language=en-US}}</ref>

<gallery widths="170px" heights="180px" class="center">
File:Pablo Picasso, 1918, Pierrot, oil on canvas, 92.7 x 73 cm, Museum of Modern Art.jpg|Pablo Picasso, 1918, ''Pierrot'', oil on canvas, 92.7 × 73&nbsp;cm, [[Museum of Modern Art]], New York
File:Pablo Picasso, 1917-18, Portrait d'Olga dans un fauteuil (Olga in an Armchair), oil on canvas, 130 x 88.8 cm, Musée Picasso, Paris, France.jpg|Pablo Picasso, 1918, ''Portrait d'Olga dans un fauteuil (Olga in an Armchair)'', [[Musée Picasso]], Paris, France
File:Pablo Picasso, 1919, Sleeping Peasants, gouache, watercolor and pencil on paper, 31.1 x 48.9 cm, Museum of Modern Art, New York.jpg|Pablo Picasso, 1919, ''Sleeping Peasants'', gouache, watercolour and pencil on paper, 31.1 × 48.9&nbsp;cm, [[Museum of Modern Art]]
</gallery>

=== The Great Depression, ''Guernica'', and the MoMA exhibition: 1930–1939 ===
During the 1930s, the [[minotaur]] replaced the [[harlequin]] as a common motif in his work. His use of the minotaur came partly from his contact with the surrealists, who often used it as their symbol, and it appears in Picasso's ''Guernica''. The minotaur and Picasso's mistress [[Marie-Thérèse Walter]] are heavily featured in his celebrated ''[[Vollard Suite]]'' of etchings.<ref name='TelegMay12' />

Arguably Picasso's most famous work is his depiction of the German [[bombing of Guernica]] during the [[Spanish Civil War]] – ''[[Guernica (painting)|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."<ref name="pbso4" /><ref name="costa" />

''Guernica'' was exhibited in July 1937 at the Spanish Pavilion at the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne|Paris International Exposition]], and then became the centrepiece of an exhibition of 118 works by Picasso, [[Matisse]], [[Braque]] and [[Henri Laurens]] that toured Scandinavia and England. After the victory of Francisco Franco in Spain, the painting was sent to the United States to raise funds and support for Spanish refugees. Until 1981 it was entrusted to the Museum of Modern Art (MoMA) in New York City, as it was Picasso's expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country.<ref>{{Cite web |title=Guernica Introduction |url=https://www.pbs.org/treasuresoftheworld/guernica/gmain.html |archive-url=https://web.archive.org/web/20000530204718/http://www.pbs.org/treasuresoftheworld/guernica/gmain.html |url-status=dead |archive-date=30 May 2000 |access-date=22 September 2023 |website=www.pbs.org}}</ref>

Before ''Guernica'', Picasso had never addressed political themes in his art. The politicized nature of the work is largely attributed to his romantic relationship at the time with the French anti-fascist activist and [[Surrealism|surrealist]] photographer, [[Dora Maar]].<ref name=":1">{{Cite news |last=Ferguson |first=Donna |date=2024-06-16 |title=Rare photographs by Dora Maar cast Picasso's tormented muse in a new light |url=https://www.theguardian.com/artanddesign/article/2024/jun/16/rare-photographs-dora-maar-picasso-tormented-muse |access-date=2024-06-25 |work=The Observer |language=en-GB |issn=0029-7712}}</ref> In addition, her black and white photographs are likely to have influenced the black and white scheme of ''Guernica'', in stark contrast to Picasso's usual colorful paintings. "Maar's practice of photography influenced the art of Picasso – she had a great influence on his work," said Antoine Romand, a Dora Maar expert. "She contested him. She pushed him to do something new and to be more creative politically."<ref name=":1" /> Maar had exclusive access to Picasso's studio to observe and photograph the creation of ''Guernica''.<ref name=":2">{{Cite magazine |last=Millington |first=Ruth |date=2022-05-02 |title=Dora Maar's Anti-Fascist Worldview Influenced Picasso's Art |url=https://time.com/6172547/picasso-dora-maar-anti-fascist-influence-art/ |access-date=2024-06-25 |magazine=TIME |language=en}}</ref> At Picasso's request, Maar painted parts of the dying horse.<ref name=":2" />

In 1939 and 1940, the [[Museum of Modern Art]] in New York City, under its director [[Alfred Barr]], a Picasso enthusiast, held a major retrospective of Picasso's principal works until that time. This exhibition lionized Picasso, 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.<ref name="marke" /> According to Jonathan Weinberg, "Given the extraordinary quality of the show and Picasso's enormous prestige, generally heightened by the political impact of ''Guernica'' ... the critics were surprisingly ambivalent".<ref name="Weinberg_33" /> Picasso's "multiplicity of styles" was disturbing to one journalist; another described him as "wayward and even malicious"; [[Alfred Frankenstein]]'s review in ''[[ARTnews]]'' concluded that Picasso was both charlatan and genius.<ref name="Weinberg_33" />

=== World War II and late 1940s: 1939–1949 ===
[[File:Pablo Picasso in NMW.jpg|thumb|left|[[Stanisław Lorentz]] guides Picasso through the [[National Museum in Warsaw]] in Poland during the exhibition ''Contemporary French Painters and Pablo Picasso's Ceramics'', 1948. Picasso gave Warsaw's museum over a dozen of his ceramics, drawings, and colour prints.<ref name="Lorentz"/>]]
[[File:Scene from Degenerate Art auction, 1938, works by Picasso, Head of a Woman, Two Harlequins.jpg|thumb|left|Scene from the [[Degenerate art]] auction, spring 1938, published in a Swiss newspaper. Works by Picasso, ''Head of a Woman'' (lot 117), ''Two Harlequins'' (lot 115).<ref>{{cite web| url = http://www.lacma.org/sites/default/files/reading_room/New%20PDF%20from%20Images%20Output-10compressed5.pdf| title = ''Degenerate Art: The Fate of the Avant-Garde in Nazi Germany'', LACMA, 1991}}</ref>]]

During [[World War II]], Picasso remained in Paris while the Germans occupied the city. Picasso's artistic style did not fit the [[Nazi art|Nazi ideal of art]], so he did not exhibit during this time. He confused Germans who came to steal both his and Matisse's paintings from a bank vault, disparaging the value of his work and distracting them from a more thorough search, thus protecting their collections.<ref>[https://lithub.com/when-picasso-saved-matisses-paintings-from-the-nazis/ When Picasso Saved Matisse’s Paintings From the Nazis]</ref>  He was often harassed by the [[Gestapo]]. During one search of his apartment, an officer saw a photograph of the painting ''Guernica''. "Did you do that?" the German asked Picasso. "No," he replied, "You did."<ref name="Regan25"/>

Retreating to his studio, he continued to paint, producing works such as the ''Still Life with Guitar'' (1942) and ''[[The Charnel House]]'' (1944–48). Although the Germans outlawed [[bronze]] casting in Paris, Picasso continued regardless, using bronze smuggled to him by the [[French Resistance]].<ref name="artn3"/>

Around this time, [[Picasso's poetry|Picasso wrote poetry]] as an alternative outlet. Between 1935 and 1959 he wrote more than 300 poems. Largely untitled except for a date and sometimes the location of where they were written (for example "Paris 16 May 1936"), these works were gustatory, erotic, and at times [[Scatology#Literature|scatological]], as were his two full-length plays, ''[[Desire Caught by the Tail]]'' (1941), ''[[The Four Little Girls]]'' (1949) and ''[[Picasso's written works#The Burial of the Count of Orgaz|The Burial of the Count of Orgaz]]'' (1959).<ref name="orgaz"/>

In 1944, after the liberation of Paris, Picasso, then 63 years old, began a romantic relationship with a young art student named [[Françoise Gilot]]. She was 40 years younger than he was. Picasso grew tired of his mistress [[Dora Maar]]; Picasso and Gilot began to live together. Eventually, they had two children: [[Claude Picasso]], born in 1947 and [[Paloma Picasso]], born in 1949. 

[[File:Paolo Monti - Servizio fotografico (Milano, 1953) - BEIC 6356204.jpg|thumb|upright|Picasso photographed in 1953 by [[Paolo Monti]] during an exhibition at [[Royal Palace of Milan|Palazzo Reale]] in Milan (Fondo Paolo Monti, [[Biblioteca europea di informazione e cultura|BEIC]])]]
Picasso had affairs with women of an even greater age disparity than his and Gilot's. While still involved with Gilot, in 1951 Picasso had a six-week affair with [[Geneviève Laporte]], who was four years younger than Gilot. By his 70s, many paintings, ink drawings and prints have as their theme an old, grotesque dwarf as the doting lover of a beautiful young model.

=== Later works and final years: 1949–1973 ===
[[File:2004-09-07 1800x2400 chicago picasso.jpg|thumb|upright|right|The [[Chicago Picasso]], a {{Convert|50|ft|4=-high|adj=mid}} public [[Cubist sculpture]]. Donated by Picasso to the people of Chicago in 1967.]]

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 [[Las Meninas (Picasso)|series]] of works based on [[Diego Velázquez|Velázquez]]'s painting ''[[Las Meninas]]''. He also based paintings on works by [[Francisco Goya|Goya]], [[Nicolas Poussin|Poussin]], [[Édouard Manet|Manet]], [[Gustave Courbet|Courbet]] and [[Eugène Delacroix|Delacroix]].{{fact|date=August 2023}}

By this time, Picasso had constructed a huge [[Gothic architecture|Gothic]] home, and could afford large villas in the south of France, such as Mas Notre-Dame-de-Vie on the outskirts of [[Mougins]], and in the [[Provence-Alpes-Côte d'Azur]]. He was an international celebrity, with often as much interest in his personal life as his art.<ref name="chess" />

In 1952, Picasso met [[Jacqueline Roque]], who worked at the Madoura Pottery in [[Vallauris]] on the [[French Riviera]], where Picasso made and painted ceramics. She became his lover, and then his second wife in 1961. The two were together for the remainder of Picasso's life.<ref>{{Cite web |last=AnOther |date=23 June 2016 |title=The Women Behind the Work: Picasso and His Muses |url=https://www.anothermag.com/art-photography/8799/the-women-behind-the-work-picasso-and-his-muses |access-date=22 September 2023 |website=AnOther |language=en}}</ref> 

In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in [[Jean Cocteau]]'s ''[[Testament of Orpheus]]'' (1960). In 1955, he helped make the film ''Le Mystère Picasso'' (''[[The Mystery of Picasso]]'') directed by [[Henri-Georges Clouzot]].

He was commissioned to make a [[maquette]] for a huge {{convert|50|ft|m|-high|adj=mid}} [[public art|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. Picasso said the figure represented the head of an [[Afghan Hound]] named Kabul.<ref name=kabul>[[Stanley Coren|Coren, Stanley]]. [https://archive.today/20201203133016/https://moderndogmagazine.com/articles/picassos-dogs/20275 "Muse and mascot: the artist's life-long love affair with his canine companions"]. ''[[Modern Dog (magazine)|Modern Dog]]''. Archived from [https://moderndogmagazine.com/articles/picassos-dogs/20275 the original.]</ref> 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.<ref>{{Cite web |title=Chicago Picasso, 1962-64 by Pablo Picasso |url=https://www.pablopicasso.org/chicago-picasso.jsp |access-date=2024-01-25 |website=www.pablopicasso.org}}</ref>

Picasso's final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colourful and expressive, and from 1968 to 1971 he produced a torrent of paintings and hundreds of copperplate etchings. At the time these works were dismissed by most as pornographic fantasies of an impotent old man or the slapdash works of an artist who was past his prime.<ref name="wort472"/><ref name="late0"/> Only later, after Picasso's death, when the rest of the art world had moved on from [[abstract expressionism]], did the critical community come to see the late works of Picasso as prefiguring [[Neo-Expressionism]].<ref name="late3"/>

In the spring of 1973, Picasso assisted in putting together 201 of his paintings for the [[Festival d'Avignon|Avignon Arts Festival]], which opened at the [[Palais des Papes]] in May of that year.<ref name=":5">{{Cite news |date=1973-04-09 |title=Picasso Is Dead in France at 91 |url=https://www.nytimes.com/1973/04/09/archives/picasso-is-dead-in-france-at-91-picasso-dies-at-his-villa-in.html |access-date=2025-04-14 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> The canvases, according to Paul Puaux, the festival director who had visited Picasso at his home, represented the artist's work from October 1970 until the end of 1972.<ref name=":5" />

==Death==
Picasso died on 8 April 1973 in [[Mougins]], France, from a [[heart attack]] brought on by [[pulmonary edema]].<ref name=":6">{{Cite magazine |date=1973-04-23 |title=Art: Pablo Picasso's Last Days and Final Journey |url=https://content.time.com/time/subscriber/article/0,33009,945265,00.html |access-date=2025-04-14 |magazine=Time |language=en-US |issn=0040-781X}}</ref> The evening before his death, Picasso and his wife Jacqueline entertained friends for dinner.<ref name=":6" /> He painted until 3 a.m. on this particular night before going to bed.<ref name=":6" /> Picasso woke up at 11:30 a.m., but he was unable to get out of bed.<ref name=":6" /> Jacqueline called his physician, Dr. Jean-Claude Rance, for assistance, but he died at 11:40 a.m. before a doctor arrived.<ref name=":5" />

Picasso was interred at the [[Château of Vauvenargues]] near [[Aix-en-Provence]], a property he had acquired in 1958 and occupied with Jacqueline between 1959 and 1961.<ref>{{Cite news |last=Times |first=Clyde H. Farnsworth Special to The New York |date=1973-04-11 |title=Body of Picasso Is Transferred To Chapel of Medieval Castle |url=https://www.nytimes.com/1973/04/11/archives/body-of-picasso-is-transferred-to-chapel-of-medieval-castle.html |access-date=2025-04-14 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> Jacqueline prevented Picasso's children, Maya, Claude, and Paloma, and his grandson Pablito from seeing his body.<ref name=":3">{{Cite news |date=1973-07-12 |title=Picasso Grandson Dies; Drank Poison in April |url=https://www.nytimes.com/1973/07/12/archives/picasso-grandson-dies-drank-poison-in-april.html |access-date=2025-04-14 |work=The New York Times |language=en-US |issn=0362-4331}}</ref><ref name="riche" /> Only Paulo, the sole legitimate child of Picasso, was allowed to attend the funeral.<ref name=":4" /><ref name=":8" /> 

Picasso died without a will, which led to a feud over his estate.<ref name=":10">{{Cite news |last=Times |first=Everett R. Holles; Special to The New York |date=1973-04-16 |title=Picasso's Children Plan to Sue Widow For Part of Estate |url=https://www.nytimes.com/1973/04/16/archives/picassos-children-plan-to-sue-widow-for-part-of-estate-picasso.html |access-date=2025-04-14 |work=The New York Times |language=en-US |issn=0362-4331}}</ref><ref>{{Cite news |last=White |first=Sam |date=January 18, 1974 |title=All Set for a Clash of Will |url=https://www.newspapers.com/article/evening-standard-all-set-for-a-clash-of/170352614/ |work=Evening Standard |pages=17}}</ref> His three illegitimate children were granted the right to share the Picasso estate by French judges, despite opposition from Jacqueline and Paulo.<ref name=":7">{{Cite news |last=Goldsmith |first=Michael |date=July 28, 1974 |title=Picasso's Tangled Love And His Chaotic Estate |url=https://www.newspapers.com/article/st-louis-post-dispatch-picassos-tangle/170281317/ |work=St. Louis Post-Dispatch |pages=5D}}</ref><ref>{{Cite news |date=March 13, 1974 |title=2 Picassos By Mistress Will Inherit |url=https://www.newspapers.com/article/daily-news-claude-and-paloma-picasso-rul/170280809/ |work=Daily News |location=New York |pages=39}}</ref> Following the death of Paulo in 1975, Picasso's surviving heirs were his widow, Jacqueline; his grandchildren from Paulo, Marina and Bernard; and his children, Claude, Paloma and Maya.<ref>{{Cite news |date=June 6, 1976 |title=Fight Goes on Over Picasso's Estate |url=https://www.newspapers.com/article/oakland-tribune-fight-goes-on-over-picas/170287142/ |work=Oakland Tribune |pages=21}}</ref><ref name=":11">{{Cite web |last=Stolz |first=George |date=2013-01-02 |title=Authenticating Picasso |url=https://www.artnews.com/art-news/news/authenticating-picasso-2146/ |access-date=2025-04-15 |website=ARTnews.com |language=en-US}}</ref> They reached a settlement on how to divide Picasso's $240 million estate in December 1976.<ref>{{Cite news |date=December 22, 1976 |title=Heirs of Picasso Agree To End Fight Over Estate |url=https://www.newspapers.com/article/winston-salem-journal-heirs-of-picasso-a/170286156/ |work=Winston-Salem Journal |pages=11}}</ref><ref>{{Cite news |date=1977-01-19 |title=Picasso's Heirs Reported In Accord on Division Of $240 Million Estate |url=https://www.nytimes.com/1977/01/19/archives/picassos-heirs-reported-in-accord-on-division-of-240-million-estate.html |access-date=2025-04-14 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>

== Works ==

=== Style and technique ===
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 | image1 = Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm, Philadelphia Museum of Art.jpg
 | caption1 = Pablo Picasso, 1901, ''Old Woman (Woman with Gloves)'', oil on cardboard, 67 × 52.1&nbsp;cm, [[Philadelphia Museum of Art]]
 | image2 = Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm, Hermitage Museum, Saint Petersburg, Russia.jpg
 | caption2 = Pablo Picasso, 1901–02, ''Femme au café (Absinthe Drinker)'', oil on canvas, 73 × 54&nbsp;cm, [[Hermitage Museum]]
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<!--[[File:Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm, Philadelphia Museum of Art.jpg|thumb|Pablo Picasso, 1901, ''Old Woman (Woman with Gloves)'', oil on cardboard, 67 × 52.1&nbsp;cm, [[Philadelphia Museum of Art]]]]
[[File:Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm, Hermitage Museum, Saint Petersburg, Russia.jpg|thumb|Pablo Picasso, 1901–02, ''Femme au café (Absinthe Drinker)'', oil on canvas, 73 × 54 cm, [[Hermitage Museum]], Saint Petersburg, Russia]]-->

Picasso was exceptionally prolific throughout his long lifetime. At his death there were more than 45,000 unsold works in his estate, comprising 1,885 paintings, 1,228 sculptures, 3,222 ceramics, 7,089 drawings, 150 sketchbooks, many thousands of prints, and numerous tapestries and rugs.<ref name=":4">Esterow, Milton (7 March 2016). [https://www.vanityfair.com/culture/2016/03/picasso-multi-billion-dollar-empire-battle "The Battle for Picasso's Multi-Billion Dollar Empire"]. ''Vanity Fair''. Retrieved 29 July 2021.</ref> The most complete – but not exhaustive – catalogue of his works, the [[catalogue raisonné]] compiled by [[Christian Zervos]], lists more than 16,000 paintings and drawings.<ref>Stolz, George (3 June 2014). [https://www.artnews.com/art-news/market/zervos-picasso-catalogue-reprinted-and-priced-at-20-thousand-dollars-2446/ "The $20,000 Picasso Catalogue the Art World Was Waiting For"]. ''Artnews''. Retrieved 29 July 2021.</ref> Picasso's output was several times more prolific than most artists of his era; by at least one account, American artist [[Bob Ross]] is the only one to rival Picasso's volume, and Ross's artwork was designed specifically to be easily mass-produced quickly.<ref>{{cite web|url=https://thehustle.co/why-its-nearly-impossible-to-buy-an-original-bob-ross-painting/|title= Why it's nearly impossible to buy an original Bob Ross painting |first=Zachary|last=Crockett|work=The Hustle|date=1 May 2021|access-date=7 May 2021}}</ref>

The medium in which Picasso made his most important contribution was painting.<ref name="McQuillan"/> In his paintings, Picasso used colour as an expressive element, but relied on drawing rather than subtleties of colour to create form and space.<ref name="McQuillan"/> He sometimes added sand to his paint to vary its texture. A [[nanoprobe (device)|nanoprobe]] of Picasso's ''The Red Armchair'' (1931), in the collection of the [[Art Institute of Chicago]], by physicists at [[Argonne National Laboratory]] in 2012 confirmed art historians' belief that Picasso used common house paint in many of his paintings.<ref>{{Cite web|last=Picasso|first=Pablo|title=The Red Armchair|url=https://www.artic.edu/artworks/5357/the-red-armchair|access-date=24 May 2021|website=The Art Institute of Chicago|language=en}}</ref><ref>[[Clara Moskowitz|Moskowitz, Clara]] (8 February 2013). [http://www.livescience.com/26963-picasso-house-paint-x-rays.html "Picasso's Genius Revealed: He Used Common House Paint"], Live Science. Retrieved 9 February 2013.</ref> Much of his painting was done at night by artificial light.

Picasso's early sculptures were carved from wood or modelled in wax or clay, but from 1909 to 1928 Picasso abandoned modelling and instead made sculptural constructions using diverse materials.<ref name="McQuillan"/> An example is ''Guitar'' (1912), a relief construction made of sheet metal and wire that Jane Fluegel terms a "three-dimensional planar counterpart of Cubist painting" that marks a "revolutionary departure from the traditional approaches, modeling and carving".<ref name="rube150"/>

[[File:Picasso three musicians moma 2006.jpg|thumb|Pablo Picasso, 1921, ''Three Musicians'', oil on canvas, 200.7 × 222.9 cm, [[Museum of Modern Art]], New York. Mrs. Simon Guggenheim Fund]]

From the beginning of his career, Picasso displayed an interest in subject matter of every kind,<ref name="cirl164"/> and demonstrated a great stylistic versatility that enabled him to work in several styles at once. For example, his paintings of 1917 included the [[pointillist]] ''Woman with a Mantilla'', the Cubist ''Figure in an Armchair'', and the naturalistic ''Harlequin'' (all in the [[Museu Picasso]], Barcelona). In 1919, he made a number of drawings from postcards and photographs that reflect his interest in the stylistic conventions and static character of posed photographs.<ref name="Cowling&Mundy_208"/> In 1921 he simultaneously painted several large neoclassical paintings and two versions of the Cubist composition ''[[Three Musicians (Picasso)|Three Musicians]]'' (Museum of Modern Art, New York; Philadelphia Museum of Art).<ref name="Cowling&Mundy_201"/> In an interview published in 1923, Picasso said, "The several manners I have used in my art must not be considered as an evolution, or as steps towards an unknown ideal of painting ... If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them."<ref name="Cowling&Mundy_201"/>

Although his Cubist works approach abstraction, Picasso never relinquished the objects of the real world as subject matter. Prominent in his Cubist paintings are forms easily recognized as guitars, violins, and bottles.<ref name="cirl158"/> When Picasso depicted complex narrative scenes it was usually in prints, drawings, and small-scale works; ''[[Guernica (painting)|Guernica]]'' (1937) is one of his few large narrative paintings.<ref name="Cowling&Mundy_208"/> ''Guernica'' was on display at the Museum of Modern Art for many years. In 1981, it was returned to Spain and was on exhibit at the [[Casón del Buen Retiro]] of the [[Museo del Prado]]. In 1992, the painting was put on display in the [[Museo Nacional Centro de Arte Reina Sofía|Reina Sofía Museum]] when it opened.<ref>{{Cite web |last=Selvin |first=Claire |date=May 7, 2020 |title=How Picasso's Famed Mural 'Guernica' Became a Poignant Political Symbol for Activists Around the World |url=https://www.artnews.com/art-news/artists/picasso-guernica-exhibitions-anti-war-symbol-1202686074/ |url-status=live |archive-url=https://web.archive.org/web/20241228130231/https://www.artnews.com/art-news/artists/picasso-guernica-exhibitions-anti-war-symbol-1202686074/ |archive-date=December 28, 2024 |access-date=March 5, 2025 |website=ARTnews}}</ref>

Picasso painted mostly from imagination or memory. According to [[William Rubin]], Picasso "could only make great art from subjects that truly involved him ... Unlike Matisse, Picasso had eschewed models virtually all his mature life, preferring to paint individuals whose lives had both impinged on, and had real significance for, his own."<ref name="Danto_1996"/> The art critic [[Arthur Danto]] said Picasso's work constitutes a "vast pictorial autobiography" that provides some basis for the popular conception that "Picasso invented a new style each time he fell in love with a new woman".<ref name="Danto_1996"/> The autobiographical nature of Picasso's art is reinforced by his habit of dating his works, often to the day. He explained: "I want to leave to posterity a documentation that will be as complete as possible. That's why I put a date on everything I do."<ref name="Danto_1996"/>

The women in Picasso's life played an important role in the emotional and erotic aspects of his creative expression, and the tumultuous nature of these relationships has been considered vital to his artistic process. Many of these women functioned as muses for him, and their inclusion in his extensive oeuvre granted them a place in art history.<ref>{{Cite web |last=Epps |first=Philomena |date=23 June 2016 |title=The Women Behind the Work: Picasso and His Muses |url=https://www.anothermag.com/art-photography/8799/the-women-behind-the-work-picasso-and-his-muses |access-date=25 April 2020 |website=AnOther |language=en}}</ref> A largely recurring motif in his body of work is the female form. The variations in his relationships informed and collided with&nbsp;his progression of style throughout his career. For example, portraits created of his first wife, Olga, were rendered in a naturalistic style during his [[Neoclassicism|Neoclassical]] period. His relationship with Marie-Thérèse Walter inspired many of his [[Surrealism|surrealist]] pieces, as well as what is referred to as his "Year of Wonders".<ref>{{Cite web |last=Borchardt-Hume |first=Achim |date=7 March 2018 |title=Picasso 1932: The Year of Wonders – Tate Etc |url=https://www.tate.org.uk/tate-etc/issue-42-spring-2018/picasso-1932-year-of-wonders |access-date=25 April 2020 |website=Tate |language=en-GB}}</ref> The reappearance of an acrobats theme in 1905 put an end to his "[[Picasso's Blue Period|Blue Period]]", marking the transition into his "[[Picasso's Rose Period|Rose Period]]". This transition has been incorrectly attributed to the presence of [[Fernande Olivier]] in his life.<ref>{{Cite book |last=Franck |first=Dan |url=https://books.google.com/books?id=eHIMLGwiTvQC&pg=PA75 |title=Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art |publisher=Grove Press |year=2003 |isbn=978-0-8021-3997-9 |language=en}}</ref>

=== Catalogue raisonné ===
Picasso entrusted [[Christian Zervos]] to constitute the [[catalogue raisonné]] of his work (painted and drawn). The first volume of the catalogue, ''Works from 1895 to 1906'', published in 1932, entailed the financial ruin of Zervos, self-publishing under the name ''[[Cahiers d'art]]'', forcing him to sell part of his art collection at auction to avoid bankruptcy.<ref name="sale1" /><ref name="uabca" />

From 1932 to 1978, Zervos constituted the catalogue raisonné of the complete works of Picasso in the company of the artist who had become one of his friends in 1924. Following the death of Zervos, Mila Gagarin supervised the publication of 11 additional volumes from 1970 to 1978.<ref name="PER00449b68b92455f2" />

The 33 volumes cover the entire work from 1895 to 1972, with close to 16,000 black and white photographs, in accord with the will of the artist.<ref name="nytimes" />

* 1932: tome I, ''Œuvres de 1895 à 1906''. Introduction p.&nbsp;XI–[XXXXIX], 185 pages, 384 reproductions
* 1942: tome II, vol.1, ''Œuvres de 1906 à 1912''. Introduction p.&nbsp;XI–[LV], 172 pages, 360 reproductions
* 1944: tome II, vol.2, ''Œuvres de 1912 à 1917''. Introduction p.&nbsp;IX–[LXX–VIII], 233 p. pp.&nbsp;173 to 406, 604 reproductions
* 1949: tome III, ''Œuvres de 1917 à 1919''. Introduction p.&nbsp;IX–[XIII], 152 pages, 465 reproductions
* 1951: tome IV, ''Œuvres de 1920 à 1922''. Introduction p.&nbsp;VII–[XIV], 192 pages, 455 reproductions
* 1952: tome V, ''Œuvres de 1923 à 1925''. Introduction p.&nbsp;IX–[XIV], 188 pages, 466 reproductions
* 1954: tome VI, ''Supplément aux tomes I à V''. Sans introduction, 176 pages, 1481 reproductions
* 1955: tome VII, ''Œuvres de 1926 à 1932''. Introduction p.&nbsp;V–[VII], 184 pages, 424 reproductions
{{Inc-lit|date=October 2021}}
* 1978: ''Catalogue raisonné des œuvres de Pablo Picasso'', Paris, Éditions Cahiers d'art<ref name="jacqu" />
'''Further publications by Zervos'''
* ''Picasso. Œuvres de 1920 à 1926'', Cahiers d'art, Paris
* ''Dessins de Picasso 1892–1948'', Paris, Éditions Cahiers d'art, 1949
* ''Picasso. Dessins (1892–1948)'', Hazan, 199 reproductions, 1949

== Personal life ==
Picasso has been characterized as a womaniser and a misogynist, being quoted as saying to his longtime partner [[Françoise Gilot]] that "women are machines for suffering."<ref name=":0">{{Cite web |last=Delistraty |first=Cody |date=9 November 2017 |title=How Picasso Bled the Women in His Life for Art |url=https://www.theparisreview.org/blog/2017/11/09/how-picasso-bled-the-women-in-his-life-for-art/ |access-date=25 April 2020 |website=The Paris Review |language=en}}</ref> He later allegedly told her, "For me there are only two kinds of women: goddesses and doormats."<ref>{{Cite magazine |last=Schwartz |first=Alexandra |date=16 July 2019 |title=How Picasso's Muse Became a Master |url=https://www.newyorker.com/magazine/2019/07/22/how-picassos-muse-became-a-master |access-date=25 April 2020 |magazine=The New Yorker |language=en}}</ref> In her memoir, ''Picasso, My Grandfather'', [[Marina Picasso]] writes of his treatment of women, "He submitted them to his animal sexuality, tamed them, bewitched them, ingested them, and crushed them onto his canvas. After he had spent many nights extracting their essence, once they were bled dry, he would dispose of them."<ref>{{Cite book |last=Picasso |first=Marina |title=Picasso: My Grandfather |publisher=Riverhead |year=2001 |isbn=1-57322-953-9 |location=New York}}</ref> 

From early adolescence, Picasso maintained both superficial and intense amatory sexual relationships. Biographer John Richardson stated that 'work, sex, and tobacco' were his addictions.<ref>{{cite book |last1=Richardson |first1=John |title=A Life of Picasso Volume 1: 1881 - 1906 |date=1991 |publisher=Jonathan Cape |location=London |isbn=0-224-03024-8 |page=325}}</ref> Picasso was married twice and had four children with three women:

* {{ill|Paulo Picasso|fr}}  (4 February 1921 – 5 June 1975, Paul Joseph Picasso) – his son with [[Olga Khokhlova]]
::Paulo had 3 children: {{ill|Pablito Picasso|fr}} (5 May 1949 – 12 July 1973); [[Marina Picasso]] (b. 14 November 1950); [[Bernard Ruiz-Picasso]] (b. 3 September 1959)
* [[Maya Widmaier-Picasso|Maya]] (5 September 1935 – 20 December 2022, Maria de la Concepcion Picasso) – his daughter with [[Marie-Thérèse Walter]]
::Maya had 3 children: Olivier Widmaier Picasso (b. 4 June 1961); Richard Widmaier Picasso (b. 1966); [[Diana Widmaier Picasso]] (b. 12 March 1974)
* [[Claude Picasso|Claude]] (15 May 1947 – 24 August 2023, Claude Ruiz Picasso) – his son with Françoise Gilot
::Claude had 1 child: Jasmin Picasso (b. 1981)
* [[Paloma Picasso|Paloma]] (born 19 April 1949, Anne Paloma Picasso) – his daughter with Françoise Gilot

Picasso married ballet dancer Olga Khokhlova in 1918.<ref name=":12" /> In 1935, Picasso began divorce proceedings, but Khokhlova refused to divorce.<ref name=":12">{{Cite news |last=Wallis |first=Lucy |date=2023-09-23 |title=Picasso's twisted beauty – and the 'trail of female carnage' he left behind |url=https://www.bbc.com/news/entertainment-arts-66843990 |access-date=2025-04-14 |work=BBC News |language=en-GB}}</ref> They legally separated in 1941, but remained married until Khokhlova's death in 1955.<ref name=":7" /> 

When Picasso's mistress Marie-Thèrése Walter gave birth to their daughter Maya in 1935, he secretly placed them in an apartment at 44 rue de La Boétie in the [[8th arrondissement of Paris|8th arrondissement]], which was across from his residence with his wife Olga at number 23.<ref name=":9">{{Cite news |last=Darwent |first=Charles |date=2023-01-03 |title=Maya Widmaier-Picasso obituary |url=https://www.theguardian.com/artanddesign/2023/jan/03/maya-widmaier-picasso-obituary |access-date=2025-04-14 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> In 1937, Marie-Thèrése and Maya were sent to [[Le Tremblay-sur-Mauldre]].<ref name=":9" /> Maya was 10 years old when she learned that she had an older brother, Paulo.<ref name=":9" />

Photographer and painter [[Dora Maar]] was 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 (painting)|Guernica]]''.<ref>{{Cite web |title=Guernica Introduction |url=https://www.pbs.org/treasuresoftheworld/guernica/gmain.html |archive-url=https://web.archive.org/web/20000530204718/http://www.pbs.org/treasuresoftheworld/guernica/gmain.html |url-status=dead |archive-date=30 May 2000 |access-date=22 September 2023 |website=www.pbs.org}}</ref>

In December 1961, Picasso's children with artist Françoise Gilot, Claude and Paloma, were granted full legal rights to use the name Picasso after their father legally recognized his paternity in a written statement submitted to a French court.<ref name=":10" /> However, ten years later, Picasso successfully contested a legal case in which he refused to acknowledge paternity.<ref name=":10" /> Three weeks following the 1961 court case, newspapers revealed his second marriage to Jacqueline Roque, a salesgirl at a pottery store. In her 1964 book ''Life with Picasso'', Gilot describes his abusive treatment and myriad infidelities which led her to leave him, taking the children with her in 1953.<ref name="life6" /><ref name=":22" /> The book angered Picasso and he severed ties with his children.<ref name=":22">{{Cite web |last=Hawley |first=Janet |date=2011-08-28 |title=A wife apart |url=https://www.thetimes.com/travel/destinations/europe-travel/france/paris/a-wife-apart-7x86q823xm5?region=global |access-date=2025-04-14 |website=The Sunday Times |language=en}}</ref> His strained relationship with Claude and Paloma was never healed.<ref name="expre" /> Gilot later stated in an interview with ''[[The Times]]'': 

<blockquote>He was astonishingly creative, so intelligent and seductive. If he was in the mood to charm, even stones would dance to his tune. But he was also cruel, sadistic and merciless to others as well as to himself. Everything had to be his way. You were there for him; he was not there for you. Pablo thought he was God, but he was not God — and that annoyed him! ... Pablo was the greatest love of my life, but you had to take steps to protect yourself. I did. I left before I was destroyed. The others didn't, they clung on to the mighty [[Minotaur]] and paid a heavy price.<ref name=":22" /></blockquote>

Of the several important women in his life, two of them – his lover Marie-Thèrése Walter and his second wife Jacqueline Roque – died by suicide. Others, notably his first wife Olga Khokhlova and lover Dora Maar, succumbed to nervous breakdowns. His grandson, Pablito, died by suicide from ingesting bleach when he was barred by Picasso's widow, Jacqueline, from attending the artist's funeral in 1973.<ref name=":0" /><ref name=":3" /> His son, Paulo, died from alcoholism due to depression in 1975.<ref name=":22" /><ref name=":8">{{Cite news |last=Glueck |first=Grace |date=1975-06-07 |title=Paulo Picasso, 54, Dies in Paris; Artist's Only Legitimate Child |url=https://www.nytimes.com/1975/06/07/archives/paulo-picasso-54-dies-in-paris-artists-only-legitimate-child.html |access-date=2025-04-14 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> Devastated and lonely after the death of Picasso, Jacqueline fatally shot herself in 1986.<ref name="famil" />

== Political views ==
[[File:Picasso Massacre in Korea.jpg|thumb|upright=1.35 |''[[Massacre in Korea]]'', 1951]]
Picasso remained aloof from the [[Catalonia|Catalan]] independence movement during his youth, despite expressing general support and being friendly with activists within it.<ref>O'Brian, Patrick (1976). ''Pablo Ruiz Picasso: a Biography''. New York: G.P. Putnam's Sons. [https://books.google.com/books?id=uFmVv8KaimkC&pg=PA72 p. 72.] {{OCLC|68744938}}.</ref> He did not join the armed forces for any side or country during [[World War I]], the [[Spanish Civil War]], or World War II. As a Spanish citizen living in France, Picasso was under no compulsion to fight against the invading Germans in either world war. In 1940, he applied for French citizenship, but it was refused on the grounds of his "extremist ideas evolving towards communism". This information was not revealed until 2003.<ref name="smhc5"/>

At the start of the Spanish Civil War in 1936, Picasso was 54 years of age. Soon after hostilities began, the Republicans appointed him "director of the Prado, albeit in absentia", and "he took his duties very seriously", according to John Richardson, supplying the funds to evacuate the museum's collection to Geneva.<ref name="Richardson_NYRB_25November2010"/> The war provided the impetus for Picasso's first overtly [[The arts and politics|political work]]. He expressed anger and condemnation of [[Francisco Franco]] and fascists in ''[[The Dream and Lie of Franco]]'' (1937), which was produced "specifically for propagandistic and fundraising purposes".<ref name="pbs" /> This surreal fusion of words and images was intended to be sold as a series of postcards to raise funds for the [[Second Spanish Republic|Spanish Republican cause]].<ref name="pbs"/><ref name="ngv"/>

In 1944, Picasso joined the [[French Communist Party]]. He attended the 1948 [[World Congress of Intellectuals in Defense of Peace]] in Poland, and in 1950 received the [[Stalin Peace Prize]] from the Soviet government.<ref name="artn23"/> A portrait of [[Joseph Stalin]] made by Picasso in 1953 drew Party criticism due to being insufficiently realistic, though he remained a loyal member of the Communist Party until his death.<ref name="Richardson_NYRB_25November2010"/> His dealer, [[Daniel-Henry Kahnweiler|D-H. Kahnweiler]], a socialist, termed Picasso's communism "sentimental" rather than political, saying "He has never read a line of [[Karl Marx]], nor of [[Friedrich Engels|Engels]] of course."<ref name="Richardson_NYRB_25November2010"/> 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."<ref name="selec"/> His commitment to communism, common among [[Continental Europe|continental]] intellectuals and artists at the time, has long been the subject of some controversy; a notable demonstration thereof was a quote by [[Salvador Dalí]] (with whom Picasso had a rather strained relationship<ref name="larep"/>):

<blockquote><poem>''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.)<ref name="monog"/><ref name="elmun"/><ref name="peace"/></poem></blockquote>

In the late 1940s, his old friend surrealist poet [[André Breton]], who was a [[Trotskyism|Trotskyist]] and [[Anti-Stalinist left|anti-Stalinist]], was more blunt;<ref name="alang" /> refusing to shake hands with Picasso, he told him: "I don't approve of your joining the Communist Party nor with the stand you have taken concerning the purges of the intellectuals after the Liberation."<ref name="destr"/>
As a communist, Picasso opposed the intervention of the [[United Nations]] and the United States in the [[Korean War]], and depicted it in ''[[Massacre in Korea]]''.<ref name="afte15"/><ref name="retro"/> The art critic Kirsten Hoving Keen wrote that it was "inspired by reports of American atrocities" and considered it one of Picasso's communist works.<ref name="commu464"/>

On 9 January 1949, Picasso created ''[[Dove (Picasso)|Dove]]'', a black and white lithograph. It was used to illustrate a poster at the 1949 [[World Peace Council]] and became an iconographic image of the period, known as "The dove of peace". Picasso's image was used around the world as a symbol of the Peace Congresses and communism.<ref>{{Cite web|title=Pablo Picasso Dove 1949|url=https://www.tate.org.uk/art/artworks/picasso-dove-p11366|access-date=20 December 2020|website=Tate}}</ref>

In 1962, he received the [[Lenin Peace Prize]].<ref name="stali"/> Biographer and art critic [[John Berger]] felt his talents as an artist were "wasted" by the communists.<ref name="fail05"/> 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."<ref name="guar50"/>

== Legacy ==
[[File:Stamp P.JPG|thumb|upright|left|Postage stamp, USSR, 1973. Picasso has been honoured on stamps worldwide.]]
Picasso's influence was and remains immense and widely acknowledged by his admirers and detractors alike. On the occasion of his 1939 retrospective at New York's [[Museum of Modern Art]], ''Life'' magazine wrote: "During the 25 years he has dominated modern European art, his enemies say he has been a corrupting influence. With equal violence, his friends say he is the greatest artist alive."<ref name="spani" /> In 1971, Picasso was the first living artist to receive a special honour exhibition at the Grand Gallery of the [[Louvre]] Museum in Paris in celebration of his 90th birthday.<ref>{{cite web|title=15 Pablo Picasso fun facts|url=https://www.pablopicasso.org/picasso-facts.jsp|website=Pablopicasso.org|access-date=23 January 2021}}</ref> In 1998, [[Robert Hughes (critic)|Robert Hughes]] wrote of him: "To say that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace. ... No painter or sculptor, not even Michelangelo, had been as famous as this in his own lifetime. ... Though [[Marcel Duchamp]], that cunning old fox of conceptual irony, has certainly had more influence on nominally vanguard art over the past 30 years than Picasso, the Spaniard was the last great beneficiary of the belief that the language of painting and sculpture really mattered to people other than their devotees."<ref name="time82" />

===The Basel vote===
[[File:Basel - 2017 - Kunstmuseum Basel - Altbau.jpg|thumb|The [[Kunstmuseum Basel]]]]
In the 1940s, a Swiss insurance company based in [[Basel]] had bought two paintings by Picasso to diversify its investments and serve as a guarantee for the insured risks. Following an air disaster in 1967, the company had to pay out heavy reimbursements. The company decided to part with the two paintings, which were deposited in the [[Kunstmuseum Basel]]. In 1968, a large number of Basel citizens called for a local referendum on the purchase of the Picassos by the [[Canton of Basel-Stadt]], which was successful, making it the first time in democratic history that the population of a city voted on the purchase of works of art for a public art museum.<ref>{{Cite web |title=50th Anniversary of the Picasso Gift |url=https://kunstmuseumbasel.ch/en/exhibitions/2018/picasso}}</ref> The paintings therefore remained in the museum in Basel. Informed of this, Picasso donated three paintings and a sketch to the city and its museum and was later made an honorary citizen by the city.<ref>{{Cite web |date=6 October 2017 |title=The miracle of Picasso in Basel |url=https://www.swissinfo.ch/eng/art-and-democracy_a-picasso-miracle-in-basel/43572276}}</ref>

=== Museums ===
[[File:Hôtel Salé.JPG|thumb|right|[[Musée Picasso]], Paris (Hotel Salé, 1659)]]
At the time of Picasso's death many of his paintings were in his possession, as he had kept off the art market what he did not need to sell. In addition, Picasso had a considerable collection of the work of other famous artists, some his contemporaries, such as [[Henri Matisse]], with whom he had exchanged works. Since Picasso left no will, his death duties (estate tax) to the French state were paid in the form of his works and others from his collection.<ref name=":7" /> These works form the core of the immense and representative collection of the [[Musée Picasso]] in Paris.<ref>{{Cite news |last=Carvajal |first=Doreen |date=2013-10-28 |title=Picasso Museum Makeover Drags On |url=https://www.nytimes.com/2013/10/29/arts/design/picasso-museum-makeover-drags-on.html |access-date=2025-04-14 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>

In 2003, relatives of Picasso inaugurated a museum dedicated to him in his birthplace, Málaga, Spain, the [[Museo Picasso Málaga]].<ref name="History">[http://www2.museopicassomalaga.org/i_02_2frameset.htm The Collection: History] {{Webarchive|url=https://web.archive.org/web/20100125151156/http://www2.museopicassomalaga.org/i_02_2frameset.htm|date=2010-01-25}}, Museo Picasso Málaga. Accessed online 2010-01-16.</ref>

[[File:Museu Picasso Barcelona.jpg|thumb|upright|[[Museu Picasso]] is located in the [[Catalan Gothic|gothic]] palaces of Montcada street in [[Barcelona]].]]
The [[Museu Picasso]] in Barcelona features many of his early works, created while he was living in Spain, including many rarely seen works which reveal his firm grounding in classical techniques. The museum also holds many precise and detailed figure studies done in his youth under his father's tutelage, as well as the extensive collection of Jaime Sabartés, his close friend and personal secretary.<ref>{{Cite web |title=Picasso Museum Barcelona |url=https://geographyfieldwork.com/PicassoMuseum.htm |access-date=2025-06-14 |website=geographyfieldwork.com}}</ref><ref>{{Cite web |title=How to Visit the Picasso Museum in Barcelona: Everything You Need to Know |url=https://www.througheternity.com/en/blog/travel-tips/how-to-visit-picasso-museum-barcelona.html |access-date=2025-06-14 |website=Through Eternity Tours |language=en}}</ref>

In 1985, Museum Picasso Eugenio Arias' Collection established in [[Buitrago del Lozoya]] by Picasso's friend Eugenio Arias Herranz.<ref>{{cite news|title=Obituary: Eugenio Arias, amigo y peluquero de Picasso|url=https://elpais.com/diario/2008/04/29/necrologicas/1209420002_850215.html|publisher=El Pais|date=28 April 2008|access-date=28 January 2023|language=Spanish}}</ref>

On 8 October 2010, ''Picasso: Masterpieces from the Musée National Picasso, Paris,'' an exhibition of 150 paintings, sculptures, drawings, prints and photographs from the Musée National Picasso in Paris, opened at the [[Seattle Art Museum]], Seattle, Washington, US. The exhibition subsequently travelled to the [[Virginia Museum of Fine Arts]], Richmond, Virginia: the [[M.H. de Young Memorial Museum]], San Francisco, California, US.;<ref name="famsf" /> the [[Art Gallery of New South Wales]], Sydney, Australia;<ref name="artg33" /> and the [[Art Gallery of Ontario]], Toronto, Ontario, Canada.{{fact|date=August 2023}}

It was announced on 22 September 2020 that the project for a new Picasso Museum due to open in [[Aix-en-Provence]] in 2021, in a former convent (Couvent des Prêcheurs), which would have held the largest collection of his paintings of any museum, had been scrapped due to the fact that Catherine Hutin-Blay, [[Jacqueline Picasso]]'s daughter, and the City Council had failed to reach an agreement.<ref>{{cite web| url = https://www.theartnewspaper.com/news/new-picasso-museum-in-aix-en-provence-is-scuppered| title = Plans for world's biggest Picasso museum in south of France scuppered|website= The Art Newspaper|first= Gareth|last= Harris| date = 22 September 2020}}</ref>

[[File:Ayuntamiento y Museo Picasso de Buitrago.jpg|thumb|Picasso Museum in Buitrago]]{{As of|2015}}, Picasso remained the top-ranked artist (based on sales of his works at auctions) according to the Art Market Trends report.<ref name="artpr" /> More of his paintings have been stolen than those of any other artist;<ref name="fasci" /> in 2012, the [[Art Loss Register]] had 1,147 of his works listed as stolen.<ref name="regis" /> [[File:Street art in Barcelona - Pablo Picasso (2023).jpg|thumb|left|Street art portrait (Barcelona, 2023)]]

=== The Picasso Administration ===
Picasso's heirs formed a committee to formally authenticate his works at the beginning of the 1980s.<ref name=":11" /> However, disagreements regarding the legitimacy of a series of drawings led to the dissolution of the committee in 1993. Two of the children, Claude and Maya, began issuing authenticity certificates separately.<ref name=":11" /> Dealers claim that this has resulted in a situation that has been difficult and time-consuming, especially since auction houses were increasingly requesting certifications from both heirs due to the dual (and competing) authentication methods.<ref name=":11" />

In 2012, four of Picasso's five surviving heirs—Claude, Paloma Picasso, Bernard Ruiz-Picasso, and Marina Ruiz-Picasso—established the Picasso Administration to authenticate works by the artist. They announced that Claude should now be the recipient of all authentication requests, adding that "only his opinions shall be fully and officially acknowledged by the undersigned."<ref name=":11" /> Claude served as legal administrator of the estate from 1989 until 2023, when his sister Paloma took over.<ref>{{Cite web |last=Greenberger |first=Alex |date=2023-08-24 |title=Claude Picasso, Longtime Administrator of the Picasso Estate, Dies at 76 |url=https://www.artnews.com/art-news/news/claude-picasso-dead-1234677612/ |access-date=2025-04-15 |website=ARTnews.com |language=en-US}}</ref>

The Picasso Administration also manages the Picasso estate.<ref name=":11" /> The US copyright representative for the Picasso Administration is the [[Artists Rights Society]].<ref name="arsny" />

=== Auction history ===
[[File:Garçon à la pipe.jpg|thumb|upright=0.85|right|Pablo Picasso, 1905, ''[[Garçon à la pipe]], (Boy with a Pipe),'' private collection, [[Rose Period]]]]
Several paintings by Picasso rank among the [[list of most expensive paintings|most expensive paintings in the world]]. ''[[Garçon à la pipe]]'' sold for US$104&nbsp;million at [[Sotheby's]] on 4 May 2004. ''[[Dora Maar au Chat]]'' sold for US$95.2&nbsp;million at Sotheby's on 3 May 2006.<ref name="milli"/> On 4 May 2010, ''[[Nude, Green Leaves and Bust]]'' was sold at [[Christie's]] for US$106.5&nbsp;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.<ref name="nyti3"/> On 11 May 2015 his painting ''[[Les Femmes d'Alger|Women of Algiers]]'' set the record for the [[List of most expensive paintings|highest price ever paid for a painting]] when it sold for US$179.3&nbsp;million at Christie's in New York.<ref name="ibti"/>

On 21 June 2016, a painting by Pablo Picasso titled ''Femme Assise'' (1909) sold for £43.2&nbsp;million ($63.4&nbsp;million) at Sotheby's London, exceeding the estimate by nearly $20&nbsp;million, setting a world record for the highest price ever paid at auction for a Cubist work.<ref name="cnnco"/><ref name="sothe"/>

On 17 May 2017, ''[[The Jerusalem Post]]'' in an article titled "Picasso Work Stolen By Nazis Sells for $45 Million at Auction" reported the sale of a portrait painted by Picasso, the 1939 ''Femme assise, robe bleu'', which was previously misappropriated during the early years of WWII. The painting has changed hands several times since its recovery, most recently through auction in May 2017 at Christie's in New York City.<ref name="jpost"/>

In March 2018, his ''[[Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)|Femme au Béret et à la Robe Quadrillée]]'' (1937), a portrait of Marie-Thérèse Walter, sold for £49.8m at Sotheby's in London.<ref name="gaur71"/>

== In pop culture ==
In the 1996 movie ''[[Surviving Picasso]]'', Picasso is portrayed by actor [[Anthony Hopkins]].<ref name="imdb4" /> Picasso is also a character in [[Steve Martin]]'s 1993 play, ''[[Picasso at the Lapin Agile]]''. In ''[[A Moveable Feast]]'' by [[Ernest Hemingway]], Hemingway tells [[Gertrude Stein]] that he would like to have some Picassos, but cannot afford them. Later in the book, Hemingway mentions looking at one of Picasso's paintings. He refers to it as Picasso's nude of the girl with the basket of flowers, possibly related to ''Young Naked Girl with Flower Basket''.

Picasso is portrayed by [[Antonio Banderas]] in the [[Genius (American TV series)#Season 2: Picasso (2018)|2018 season]] of ''[[Genius (U.S. TV series)|Genius]]'', which focuses on his life and art.<ref>{{Cite web |last=Andreeva |first=Nellie |date=2017-09-06 |title='Genius': Antonio Banderas To Star As Pablo Picasso In Season 2 Of Nat Geo Anthology Series |url=https://deadline.com/2017/09/genius-antonio-banderas-pablo-picasso-season-2-nat-geo-anthology-series-1202162254/ |access-date=2025-04-26 |website=Deadline Holywood |language=en-US}}</ref>

In the 2011 film ''[[Midnight in Paris]]'', which was directed by [[Woody Allen]], Picasso (portrayed by [[Marcial Di Fonzo Bo]]) appears as a member of the 1920s Parisian art circles.<ref>{{Cite news |last=Jones |first=Jonathan |date=2011-10-11 |title=Midnight in Paris: a beginner's guide to modernism |url=https://www.theguardian.com/global/2011/oct/11/midnight-in-paris-guide-modernism |access-date=2025-04-26 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref><ref>{{Cite news |last=Berger |first=Joseph |date=2011-05-27 |title=Decoding Woody Allen's 'Midnight in Paris' |url=https://www.nytimes.com/2011/05/28/movies/midnight-in-paris-a-historical-view.html |access-date=2025-04-26 |work=The New York Times |language=en-US |issn=0362-4331}}</ref><ref>{{Cite web |last=III |first=Everette Hatcher |date=2011-07-01 |title=The characters referenced in Woody Allen's movie "Midnight in Paris" (Part 23,Adriana, fictional mistress of Picasso) |url=https://thedailyhatch.org/2011/07/01/the-characters-referenced-in-woody-allens-movie-midnight-in-paris-part-23adriana-fictional-mistress-of-picasso/ |access-date=2025-04-26 |website=The Daily Hatch |language=en}}</ref>

== See also ==
* [[Lists of Picasso artworks]]
* [[Neoclassicism]]
* [[Picasso's written works]]

== Notes and references ==
===Notes===
{{notelist}}

===References===
{{Reflist|30em|refs=

<ref name="fullname">{{cite web|url=https://www.britannica.com/biography/Pablo-Picasso/additional-info#content-5|title=Pablo Picasso, Additional Information: Researcher's Note: Picasso's full name|first=Marilyn|last=McCully|publisher=Britannica }}</ref>

<ref name="Collins">{{cite web|url=https://www.collinsdictionary.com/dictionary/english/picasso|title=Picasso|work=[[Collins English Dictionary]]|publisher=[[HarperCollins]]|access-date=3 June 2019}}</ref>

<ref name="Oxford">[https://web.archive.org/web/20190603064128/https://en.oxforddictionaries.com/definition/us/Picasso,_Pablo "Picasso, Pablo"] (US) and {{Cite dictionary |url=http://www.lexico.com/definition/Picasso,+Pablo |archive-url=https://web.archive.org/web/20210118133921/https://www.lexico.com/definition/picasso%2C_pablo |url-status=dead |archive-date=18 January 2021 |title=Picasso, Pablo |dictionary=[[Lexico]] UK English Dictionary |publisher=[[Oxford University Press]]}}</ref>

<ref name="AHD">{{Cite American Heritage Dictionary|Picasso|access-date=3 June 2019}}</ref>

<ref name="moma4">{{cite web|url=http://www.moma.org/collection/browse_results.php?criteria=O%3ATA%3AE%3Aex4620&page_number=3&template_id=1&sort_order=1 |title=''The Guitar,'' MoMA |publisher=Moma.org |access-date=3 February 2012}}</ref>

<ref name="tate1">{{cite web |url=http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=267 |title=Sculpture, Tate |publisher=Tate.org.uk |access-date=3 February 2012 |archive-url=https://web.archive.org/web/20120203110502/http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=267 |archive-date=3 February 2012 |url-status=dead }}</ref>

<ref name="tate0">{{cite web|url=http://www.tate.org.uk/whats-on/tate-modern/exhibition/matisse-picasso|title=Matisse Picasso – Exhibition at Tate Modern |website=Tate}}</ref>

<ref name="fran5">{{Citation| last = Green| first = Christopher| title = Art in France: 1900–1940| place = New Haven, Conn| publisher = Yale University Press| year = 2003| page = 77| url = https://books.google.com/books?id=vlY6SLmg-xEC&pg=PA77 | isbn = 0-300-09908-8| access-date= 10 February 2013}}</ref>

<ref name="guar6">{{cite news|first=Adrian |last=Searle |url=https://www.theguardian.com/culture/2002/may/07/artsfeatures |title=A momentous, tremendous exhibition |work=The Guardian |location=UK |date=7 May 2002 |access-date=13 February 2010}}</ref>

<ref name="k12ok">{{Cite web |title=Matisse and Picasso Paul Trachtman, Smithsonian, February 2003 |url=http://www.phs.poteau.k12.ok.us/williame/APAH/readings/Matisse%20and%20Picasso%20needs%20editing%20Smith%20Feb%202003.pdf}}</ref>

<ref name="Fundación Picasso">{{cite web| title=''Antepasados y familiares de Picasso'', Fundación Picasso, Museo Casa Natal, Ayuntamiento de Málaga| date=21 October 2023| url= http://fundacionpicasso.malaga.eu/export/sites/default/cultura/fpicasso/portal/menu/seccion_0008/documentos/LOS_PICASSO.pdf}}</ref>

<ref name="collier">{{cite encyclopedia |last=Hamilton |first=George H. |editor=William D. Halsey |encyclopedia=Collier's Encyclopedia |title=Picasso, Pablo Ruiz Y |year=1976 |publisher=Macmillan Educational Corporation |volume=19 |location=New York |pages=25–26 }}</ref>

<ref name="thepi">{{cite book|title=The Picasso Book|year=2010|publisher=Tate Publishing|isbn=978-1-85437-843-9|page=124|first=Neil |last=Cox|quote=Unlike Matisse's chapel, the ruined Vallauris building had long since ceased to fulfill a religious function, so the atheist Picasso no doubt delighted in reinventing its use for the secular Communist cause of 'Peace'.}}</ref>

<ref name="Wert9">Wertenbaker 1967, 9.</ref>

<ref name="wert11">Wertenbaker 1967, 11.</ref>

<ref name="theatlantic.com">{{cite web|url=https://www.theatlantic.com/unbound/flashbks/picasso/destroy.htm |title=Picasso: Creator and Destroyer – 88.06 |date=June 1988 |publisher=Theatlantic.com |access-date=21 December 2009}}</ref>

<ref name="w13">Wertenbaker 1967, 13.</ref>

<ref name="caval">Isabelle de Maison Rouge, ''Picasso, Le Cavalier Bleu'', 2005, p. 50.</ref>

<ref name="propos">Marie-Laure Bernadac, Androula Michael, ''Picasso. Propos sur l'art'', Éditions Gallimard, 1998, p. 108, {{ISBN|978-2-07-074698-9}}.</ref>

<ref name="cirl6">Cirlot 1972, p. 6.</ref>

<ref name="cirl14">Cirlot 1972, p. 14.</ref>

<ref name="cirl37">Cirlot 1972, p. 37.</ref>

<ref name="cirl87">Cirlot 1972, pp. 87–108.</ref>

<ref name="cirl125">Cirlot 1972, p. 125.</ref>

<ref name="cirl127">Cirlot 1972, p. 127.</ref>

<ref name="watte">Wattenmaker, Distel, et al. 1993, p. 304.</ref>

<ref name="metmu">[http://www.metmuseum.org/works_of_art/collection_database/drawings_and_prints/the_frugal_repast_le_repas_frugal_pablo_picasso/objectview.aspx?collID=9&OID=90004093 ''The Frugal Repast''], Metropolitan Museum of Art. Retrieved 11 March 2010.</ref>

<ref name="Watte194">Wattenmaker, Distel, et al. 1993, p. 194.</ref>

<ref name="Watte207">Wattenmaker, Distel, et al. 1993, p. 207.</ref>

<ref name="metmu2">{{cite web|url=http://www.metmuseum.org/works_of_art/collection_database/modern_art/gertrude_stein/objectView.aspx?&OID=210008443&collID=21&vw=0 |title=Portrait of Gertrude Stein  |publisher=Metropolitan Museum |access-date=26 August 2010}}</ref>

<ref name="yale8">{{cite press release|url=http://artgallery.yale.edu/pdf/0109_picasso.pdf |archive-url=https://web.archive.org/web/20130526015428/http://artgallery.yale.edu/pdf/0109_picasso.pdf |archive-date=26 May 2013 |title=Special Exhibit Examines Dynamic Relationship Between the Art of Pablo Picasso and Writing |work=Yale University Art Gallery }}</ref>

<ref name="charm">{{cite book|url=https://books.google.com/books?id=2CDJkDE8aZ0C&q=Nina+Auzias&pg=PA152 |first=James R. |last=Mellow|title=Charmed Circle |date=May 2003|publisher=Gertrude Stein and Company |isbn=978-0-8050-7351-5}}</ref>

<ref name="tate7">{{cite web|url=http://www.tate.org.uk/servlet/CollectionDisplays?showid=1081 |title=Cubism and its Legacy |work=Tate Liverpool |access-date=26 August 2010}}</ref>

<ref name="rube87">Rubin 1980, p. 87.</ref>

<ref name="pbsor">[https://www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/picasso_a.html "Culture Shock"], pbs.org. Retrieved 7 January 2017.</ref>

<ref name="thief">{{Cite journal| last = Charney | first = Noah | title = Pablo Picasso, art thief: the "affaire des statuettes" and its role in the foundation of modernist painting | journal = Arte, Individuo y Sociedad | volume = 26 | pages = 187–197 | date = 23 January 2014 | issue = 2 | url = http://revistas.ucm.es/index.php/ARIS/article/viewFile/39942/42607 }}</ref>

<ref name="TIME - 08Apr2009 - Art's Great Whodunit: The Mona Lisa Theft of 1911">{{cite news|url=http://www.time.com/time/arts/article/0,8599,1894006,00.html|archive-url=https://web.archive.org/web/20090429103602/http://www.time.com/time/arts/article/0,8599,1894006,00.html|url-status=dead|archive-date=29 April 2009|title=Art's Great Whodunit: The Mona Lisa Theft of 1911|last=Richard Lacayo|date=7 April 2009|magazine=[[Time (magazine)|TIME]]|access-date=28 June 2013}}</ref>

<ref name="Richardson">[https://books.google.com/books?id=AxcsQXDHd7YC&dq=%22crystal+cubism%22%2C+A+Life+of+Picasso%3A+The+Triumphant+Years%2C+1917-1932&pg=PA78 John Richardson, ''A Life of Picasso: The Triumphant Years, 1917–1932'', Knopf Doubleday Publishing Group, Dec 24, 2008, pp. 77–78], {{ISBN|0-307-49649-X}}.</ref>

<ref name="kahn18">Letter from Juan Gris to Maurice Raynal, 23 May 1917, Kahnweiler-Gris 1956, 18.</ref>

<ref name="moran143">Paul Morand, 1996, 19 May 1917, pp. 143–144.</ref>

<ref name="Green, 1987">Green, Christopher, ''Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916–1928'', Yale University Press, New Haven and London, 1987, pp. 13–47.</ref>

<ref name="primi">Harrison, Charles; Frascina, Francis; Perry, Gillian (1993). {{cite book|url=https://archive.org/details/primitivismcubis0000harr|url-access=registration|page=[https://archive.org/details/primitivismcubis0000harr/page/147 147]|title=Primitivism, Cubism, Abstraction |year=1993|via=[[Internet Archive]]|publisher=Yale University Press |access-date=26 August 2010}}</ref>

<ref name="moma92">{{cite web|url=http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4609&page_number=1&template_id=6&sort_order=1&section_id=T067323#skipToContent |title=Melissa McQuillan, ''Primitivism and Cubism, 1906–15, War Years'', From Grove Art Online, MoMA |publisher=Moma.org |date=14 December 1915 |access-date=17 July 2014}}</ref>

<ref name="xtime">{{cite web|url=http://www.xtimeline.com/evt/view.aspx?id=15740 |title=Paul (Paolo) Picasso is born |publisher=Xtimeline.com |access-date=3 February 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120402052432/http://www.xtimeline.com/evt/view.aspx?id=15740 |archive-date=2 April 2012 }}</ref>

<ref name="cubis">{{Cite book |title=Picasso: Between Cubism and Neoclassicism, 1915–1925 |last=Berggruen |first=Olivier |publisher=Skira |year=2018 |isbn=978-88-572-3693-3 |editor-last=Berggruen |editor-first=Olivier |location=Milan |chapter=Stravinsky and Picasso: Elective Affinities}}</ref>

<ref name="Cowling&Mundy_201">Cowling & Mundy 1990, p. 201.</ref>

<ref name="MoMA">{{cite web|url=http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4609&page_number=1&template_id=6&sort_order=1&section_id=T067333#skipToContent |title=Melissa McQuillan, ''Pablo Picasso, Interactions with Surrealism, 1925–35'', from Grove Art Online, 2009 Oxford University Press, MoMA |publisher=Moma.org |date=12 January 1931 |access-date=17 July 2014}}</ref>

<ref name='TelegMay12'>{{cite news|url=https://www.telegraph.co.uk/culture/art/art-reviews/9251599/Picasso-The-Vollard-Suite-British-Museum-review.html |archive-url=https://ghostarchive.org/archive/20220110/https://www.telegraph.co.uk/culture/art/art-reviews/9251599/Picasso-The-Vollard-Suite-British-Museum-review.html |archive-date=10 January 2022 |url-access=subscription |url-status=live|title=Picasso, The Vollard Suite, British Museum, review|newspaper=[[The Daily Telegraph]]|first=Richard |last=Dorment|access-date=19 May 2012|date=8 May 2012}}{{cbignore}}</ref>

<ref name="pbso4">{{cite web|url=https://www.pbs.org/treasuresoftheworld/guernica/gmain.html |archive-url=https://web.archive.org/web/20000530204718/http://www.pbs.org/treasuresoftheworld/guernica/gmain.html |url-status=dead |archive-date=30 May 2000 |title=Guernica Introduction |publisher=Pbs.org |access-date=21 December 2009}}</ref>

<ref name="costa">[http://www.costatropicalnews.com/articles-on-the-costa-tropical/costa-tropical-andalucia-spain-arts-culture/spanish-wars-of-goya-and-picasso/ ''The Spanish Wars of Goya and Picasso,'' Costa Tropical News] {{webarchive|url=https://web.archive.org/web/20100509091523/http://www.costatropicalnews.com/articles-on-the-costa-tropical/costa-tropical-andalucia-spain-arts-culture/spanish-wars-of-goya-and-picasso/ |date=9 May 2010 }}. Retrieved 4 June 2010.</ref>

<ref name="marke">The MoMA retrospective of 1939–40&nbsp;– 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.</ref>

<ref name="Weinberg_33">Weinberg, Jonathan (2001). [https://books.google.com/books?id=5pe_cqwYR0wC&pg=PA33 ''Ambition & Love in Modern American Art'']. New Haven, CN: Yale University Press. p. 33. {{ISBN|0-300-08187-1}}.</ref>

<ref name="Lorentz">{{cite book |first=Stanisław|last=Lorentz |title=Paris: capital of the arts, 1900–1968|year=2002|editor=Sarah Wilson |page=429 |publisher=Royal Academy of Arts |isbn=0-900946-98-9 }}</ref>

<ref name="Regan25">[[Geoffrey Regan|Regan, Geoffrey]] (1992). ''Military Anecdotes''. Guinness Publishing. p. 25. {{ISBN|0-85112-519-0}}.</ref>

<ref name="artn3">{{cite web|url=http://www.artnet.com/magazine/features/stern/stern2-25-99.asp |website=Artnet|first= Fred|last= Stern|title=Picasso and the War Year|date=25 February 1999|access-date= 30 March 2011}}</ref>

<ref name="orgaz">Rothenberg, Jerome. Pablo Picasso, ''The Burial of the Count of Orgaz & other poems''. Exact Exchange Books, Cambridge, Massachusetts, 2004, vii–xviii</ref>

<ref name="life6">Françoise Gilot and Carlton Lake, ''Life with Picasso'', [[Random House]]. May 1989. {{ISBN|0-385-26186-1}}; first published in November 1964.</ref>

<ref name="expre">{{cite news|url=http://www.express.co.uk/expressyourself/214803/Picasso-s-true-passion|title=Picasso's true passion|work=Daily Express|date=1 December 2010|last=Pukas|first=Anna}}</ref><ref name="chess">Witham, Larry, and Pablo Picasso (2013). [https://books.google.com/books?id=6xkkSVZz_OYC&pg=PA254 ''Picasso and the Chess Player: Pablo Picasso, Marcel Duchamp and the Battle for the Soul of Modern Art'']. Hanover [u.a.]: Univ. Press of New England. p. 254. {{ISBN|978-1-61168-253-3}}.</ref>

<ref name="wort472">O'Brian, Patrick (1994). [https://books.google.com/books?id=f3yiWMKNfoEC&pg=PA472 ''Pablo Ruiz Picasso: A Biography'']. New York: W.W. Norton. p. 472. {{ISBN|0-393-31107-4}}</ref>

<ref name="late0">Filler, Martin (11 June 2009). "The Late Show". ''The New York Review of Books'' '''56''' (10): 28–29.</ref>

<ref name="late3">Martin Filler says "the new constituency for late Picasso had much to do with new directions in avant-garde painting since his death, which made many people look quite differently at this startling final output." "The Late Show". ''The New York Review of Books'' '''56''' (10): 28–29.</ref>

<ref name="riche">Zabel, William D (1996).[https://books.google.com/books?id=DZYAOL8iY54C&pg=PA11 ''The Rich Die Richer and You Can too'']. John Wiley and Sons, p. 1. {{ISBN|0-471-15532-2}}.</ref>

<ref name="famil">{{cite news|last=Kimmelman |first=Michael |url=https://query.nytimes.com/gst/fullpage.html?res=9B07E5DF1739F93BA15757C0A960958260&n=Top/Reference/Times%20Topics/People/P/Picasso,%20Pablo |title=Picasso's Family Album |newspaper=The New York Times|date=28 April 1996 |access-date=26 August 2010}}</ref>

<ref name="smhc5">{{cite news|url=http://www.smh.com.au/articles/2003/05/18/1053196477572.html|first= Philip Delves |last=Broughton|title=Picasso not the patriot he painted|newspaper=[[The Sydney Morning Herald]]|date=19 May 2003|access-date=18 April 2016}}</ref>

<ref name="Richardson_NYRB_25November2010">Richardson, John (25 November 2010). "How Political Was Picasso?". ''The New York Review of Books'', pp. 27–30.</ref>

<ref name="pbs">{{cite web|title=Picasso's commitment to the cause |publisher=PBS |url=https://www.pbs.org/treasuresoftheworld/a_nav/guernica_nav/gnav_level_1/1bcause_guerfrm.html |archive-url=https://web.archive.org/web/20001023094441/http://www.pbs.org/treasuresoftheworld/a_nav/guernica_nav/gnav_level_1/1bcause_guerfrm.html |url-status=dead |archive-date=23 October 2000 |work=Treasures of the World |date=1999}}</ref>

<ref name="ngv">{{cite web | author=National Gallery of Victoria| url=http://www.ngv.vic.gov.au/picasso/education/ed_JTE_ITG.html| year=2006| title=An Introduction to Guernica| access-date=2 April 2013}}</ref>

<ref name="artn23">{{cite magazine|url=http://artnews.com/issues/article.asp?art_id=809 |archive-url=https://web.archive.org/web/20110725001144/http://artnews.com/issues/article.asp?art_id=809 |archive-date=25 July 2011 |title=Picasso's Party Line |last=Eakin |first=Hugh |magazine=ARTnews |date=November 2000 |volume=99 |number=10 |url-status=dead }}</ref>

<ref name="selec">{{cite book|title=Picasso on Art: A Selection of Views|year=1988|publisher=Da Capo Press|isbn=0-306-80330-5|page=140|last1=Ashton |first1=Dore|first2=Pablo |last2=Picasso}}</ref>

<ref name="larep">{{cite web |url=http://larepublica.pe/14-04-2006/pablo-picasso-desairo-salvador-dali |title=Pablo Picasso desairó a Salvador Dalí |trans-title=Failed attempts at correspondence between Dalí and Picasso |newspaper=[[La República (Peru)|La República]] |language=es |date=14 April 2006 |access-date=14 February 2017 |archive-url=https://web.archive.org/web/20170214183858/http://larepublica.pe/14-04-2006/pablo-picasso-desairo-salvador-dali |archive-date=14 February 2017 |url-status=dead }}</ref>

<ref name="monog">{{cite web|url=http://www.monografias.com/trabajos14/salvadordali/salvadordali.shtml |title=Study on Salvador Dalí |publisher=Monografias.com |date=7 May 2007 |access-date=26 August 2010}}</ref>

<ref name="elmun">{{cite web|url=http://www.elmundo.es/suplementos/campus/2008/512/pag08.html |title=Article on Dalí in 'El Mundo' |publisher=Elmundo.es |access-date=26 August 2010}}</ref>

<ref name="peace">{{Citation| last = Dannatt | first = Adrian| title = Picasso: Peace and Freedom. Tate Liverpool, 21 May – 30 August 2010 | publisher = Studio International |date=7 June 2010| url = http://www.studiointernational.com/index.php/picasso-peace-and-freedom/ | access-date=  14 February 2017}}</ref>

<ref name="alang">[http://alangullette.com/lit/surreal/trotsky.htm Rivera, Breton and Trotsky] {{Webarchive|url=https://web.archive.org/web/20110927023344/http://alangullette.com/lit/surreal/trotsky.htm |date=27 September 2011 }} Retrieved 9 August 2010</ref>

<ref name="destr">{{cite book|title=Picasso: Creator and Destroyer|year=1988|publisher=Simon and Schuster|isbn= 978-0-7861-0642-4|page=390|author=Huffington, Arianna S.}}</ref>

<ref name="afte15">David Hopkins, ''After modern art: 1945–2000'' (Oxford University Press, 2000), p. 15. {{ISBN|0-19-284234-X|978-0-19-284234-3}}</ref>

<ref name="retro">''Picasso A Retrospective,'' [[Museum of Modern Art]], edited by [[William Rubin]], copyright MoMA 1980, p. 383.</ref>

<ref name="retro123">''Picasso A Retrospective,'' [[Museum of Modern Art]], edited by [[William Rubin]], copyright MoMA 1980, p. 123.</ref>

<ref name="retro198">''Picasso A Retrospective,'' [[Museum of Modern Art]], edited by [[William Rubin]], copyright MoMA 1980, p. 198.</ref>

<ref name="commu464">Keen, Kirsten Hoving. "Picasso's Communist Interlude: The Murals of War and Peace". ''The Burlington Magazine'', Vol. 122, No. 928, Special Issue Devoted to Twentieth Century Art, July 1980. p. 464.</ref>

<ref name="stali">{{cite web|url=http://www.xtimeline.com/evt/view.aspx?id=15752 |title=Pablo Ruiz Picasso (1881–1973) &#124; Picasso gets Stalin Peace Prize &#124; Event view |publisher=Xtimeline.com |access-date=3 February 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120319011136/http://www.xtimeline.com/evt/view.aspx?id=15752 |archive-date=19 March 2012 }}</ref>

<ref name="fail05">{{cite book|title=The Success and Failure of Picasso|year=1965|publisher=Penguin Books, Ltd|isbn=978-0-679-73725-4|page=175|author=Berger, John}}</ref>

<ref name="guar50">{{cite news|title=Picasso nearly risked his reputation for Franco exhibition|first=Charlotte |last=Higgins|work=The Guardian |location=UK|date=28 May 2010|url=https://www.theguardian.com/artanddesign/2010/may/28/picasso-franco-exhibition}}</ref>

<ref name="McQuillan">McQuillan, Melissa. "Picasso, Pablo". ''Grove Art Online''. ''Oxford Art Online''. Oxford University Press. Retrieved 1 February 2014.</ref>

<ref name="rube150">Rubin 1980, pp. 150–151.</ref>

<ref name="cirl164">Cirlot 1972, p. 164.</ref>

<ref name="cirl158">Cirlot 1972, pp. 158–159.</ref>

<ref name="Cowling&Mundy_208">Cowling & Mundy 1990, p. 208.</ref>

<ref name="Danto_1996">Danto, Arthur (26 August/2 September 1996). "Picasso and the Portrait". ''The Nation'' '''263''' (6): 31–35.</ref>

<ref name="spani">''Life'' 4 March 1940 [https://books.google.com/books?id=pT8EAAAAMBAJ&pg=PA56 "Picasso: Spanish Painter's Big Show Tours the Nation"]. Retrieved 12 January 2017.</ref>

<ref name="time82">Hughes, Robert (8 June 1998). [http://content.time.com/time/magazine/article/0,9171,988489-1,00.html "The Artist Pablo Picasso"]. ''Time''. Retrieved 12 January 2017.</ref>

<ref name="imdb4">[https://www.imdb.com/title/tt0117791/fullcredits?ref_=tt_ov_st_sm#cast]''IMDb''</ref>

<ref name="famsf">{{cite web |url=http://deyoung.famsf.org/deyoung/exhibitions/picasso-masterpieces-mus-e-national-picasso-paris |title=Picasso: Masterpieces from the Musée National Picasso, Paris |publisher=deYoung Museum |access-date=24 July 2011 |archive-url=https://web.archive.org/web/20110628095128/http://deyoung.famsf.org/deyoung/exhibitions/picasso-masterpieces-mus-e-national-picasso-paris |archive-date=28 June 2011 |url-status=dead }}</ref>

<ref name="artg33">{{cite web|url=http://www.artgallery.nsw.gov.au/exhibitions/picasso/ |title=Art Gallery of New South Wales|publisher=Artgallery.nsw.gov.au |access-date=17 July 2014}}</ref>

<ref name="artpr">{{cite web|url=http://imgpublic.artprice.com/pdf/rama2016_en.pdf |title=The Art Market in 2015 |author=Artprice and AMMA |access-date=14 February 2017}}</ref>

<ref name="fasci">S. Goodenough, ''1500 Fascinating Facts'', Treasure Press, London, 1987, p. 241.</ref>

<ref name="regis">{{cite news|title=Art Loss Register Lists Most Stolen Artists|url=http://www.artlyst.com/news/art-loss-register-lists-most-stolen-artists/|publisher=ArtLyst|date=28 January 2012}}</ref>

<ref name="arsny">{{cite web|url=http://www.arsny.com/mostwanted/ |title=Frequently Requested Member Artists |publisher=Artists Rights Society |date=March 2015 |access-date=14 February 2017}}</ref>

<ref name="milli">{{cite web|url=http://www.today.com/id/12627809/ns/today-today_entertainment/t/picasso-portrait-sells-million/|title=Picasso portrait sells for $95.2&nbsp;million|website= Today|agency= Associated Press|date=4 May 2006|access-date=5 May 2006}}</ref>

<ref name="nyti3">{{cite news|last=Vogel |first=Carol |url=https://www.nytimes.com/2010/03/10/arts/design/10auction.html |title=Christie's Wins Bid to Auction $150 Million Brody Collection |newspaper=The New York Times |date=9 March 2010 |access-date=3 February 2012}}</ref>

<ref name="ibti">{{cite web|url=http://www.ibtimes.co.uk/picasso-painting-smashes-art-auction-record-179-4m-sale-1500946|title=Picasso painting smashes art auction record in $179.4m sale|first=Adam |last=Justice|work=International Business Times UK|date=12 May 2015}}</ref>

<ref name="cnnco">{{cite web|url=https://edition.cnn.com/style/article/picasso-femme-assise-sothebys-auction/index.html|title=Early Picasso work sells for record $63.4M|date=20 June 2016}}</ref>

<ref name="sothe">{{cite web| url = http://www.sothebys.com/en/auctions/ecatalogue/2016/impressionist-modern-art-evening-sale-l16006/lot.8.html| title = Pablo Picasso, ''Femme Assise'' (1909), 43.269,000 GBP (Hammer Price with Buyer's Premium), Sotheby's London, 21 June 2016}}</ref>

<ref name="jpost">[https://www.jpost.com/Diaspora/Picasso-work-stolen-by-Nazis-sells-for-45-million-at-auction-490982 "Picasso Work Stolen By Nazis Sells for $45 Million at Auction"], ''The Jerusalem Post'', 17 May 2017.</ref>

<ref name="gaur71">{{cite web|url=https://www.theguardian.com/artanddesign/2018/mar/01/pablo-picasso-13-works-bought-for-110m-at-london-auctions|title=13 Picasso works bought for £113m by one London buyer|first=Rupert|last=Neate|date=1 March 2018|website=The Guardian|access-date=3 March 2018}}</ref>

<ref name="sale1">Sale of the collection of ''Cahiers d'art'' at the Hôtel Drouot (Vente de la collection des ''Cahiers d'art'' à l'Hôtel Drouot), Wednesday 12 April 1933</ref>

<ref name="uabca">[https://ddd.uab.cat/pub/locus/11359722n10/11359722n10p279.pdf Javier Mañero Rodicio, ''Christian Zervos y Cahiers d’Art. La invención del arte contemporáneo''], CU Felipe II, Universidad Complutense de Madrid, 2009–10 (Spanish)</ref>

<ref name="PER00449b68b92455f2">{{cite web| url = http://collections.bm-lyon.fr/presseXIX/PER00449b68b92455f2| title = À la découverte de Picasso, au travers des 16 000 œœuvres recensées dans le catalogue établi par Christian Zervos}}</ref>

<ref name="nytimes">{{cite news|url=https://www.nytimes.com/2013/05/23/arts/design/the-zervos-picasso-catalog-is-resurrected.html?pagewanted=all&_r=0 |first=Julie L.|last= Belcove|title=A Tome to Rival the Artist Himself|newspaper=The New York Times|date= 22 May 2013}}</ref>

<ref name="jacqu">{{cite web|url=https://jacquescrahay.com/2014/06/17/zervos-catalogue-raisonne-pablo-picasso/|title=Zervos Catalogue raisonné Pablo Picasso, une source|date=17 June 2014}}</ref>

}}
<!--<ref>{{cite news | last = Hughes | first = Robert | title = Anatomy of a Minotaur |work=Time Magazine | date = 1 November 1971 | url = http://www.time.com/time/magazine/article/0,9171,905485,00.html | archive-url = https://web.archive.org/web/20070930231325/http://www.time.com/time/magazine/article/0,9171,905485,00.html | url-status = dead | archive-date = 30 September 2007 | access-date =23 August 2007}}</ref>-->

=== Sources ===
* {{cite book
|last1=Becht-Jördens
|first1=Gereon
|last2=Wehmeier
|first2=Peter M.
|title=Picasso und die christliche Ikonographie: Mutterbeziehung und künstlerische Position
|url=https://books.google.com/books?id=pbBIAQAAIAAJ&q=Becht-J%C3%B6rdens+Wehmeier
|year=2003
|publisher=Dietrich Reimer Verlag
|location=Berlin
|isbn=978-3-496-01272-6}}
* {{cite book
|last=Berger
|first=John
|author-link=John Berger
|title=The Success and Failure of Picasso
|url=https://books.google.com/books?id=5T1QAAAAMAAJ
|year=1989
|publisher=Pantheon Books
|isbn=978-0-679-72272-4}}
* {{cite book
|last=Cirlot
|first=Juan Eduardo
|author-link=Juan Eduardo Cirlot
|title=Picasso, Birth of a Genius
|url=https://archive.org/details/picassobirthofge00cirl
|url-access=registration
|year=1972
|publisher=Praeger
|location=New York and Washington}}
* {{cite book
|last1=Cowling
|first1=Elizabeth
|last2=Mundy
|first2=Jennifer
|title=On Classic Ground: Picasso, Léger, de Chirico and the New Classicism, 1910–1930
|url=https://books.google.com/books?id=M-_pAAAAMAAJ
|year=1990
|publisher=Tate Gallery
|location=London
|isbn=978-1-85437-043-3}}
* {{cite book
|last=Daix
|first=Pierre
|author-link=Pierre Daix
|title=Picasso: Life and Art
|url=https://books.google.com/books?id=hYymPwAACAAJ
|year=1994
|publisher=Icon Editions
|isbn=978-0-06-430201-2}}
* {{cite book
|last=FitzGerald
|first=Michael C.
|author-link=Michael C. FitzGerald
|title=Making Modernism: Picasso and the Creation of the Market for Twentieth-century Art
|url=https://books.google.com/books?id=fj2wtVCWkMoC
|year=1996
|publisher=University of California Press
|location=Berkeley
|isbn=978-0-520-20653-3}}
* Gether, Christian, ed. (2019). ''Beloved by Picasso: The Power of the Model''. ARKEN Museum of Modern Art. 978-87-78751-34-8.
* {{cite book
|last=Granell
|first=Eugenio Fernández
|author-link=Eugenio Granell
|title=Picasso's Guernica: The End of a Spanish Era
|url=https://books.google.com/books?id=IlRQAAAAMAAJ
|year=1981
|publisher=UMI Research Press
|location=Ann Arbor, Mich.
|isbn=978-0-8357-1206-4}}
* {{cite book
|last=Jackson
|first=Jeffrey B.
|author-link=Jeffrey B. Jackson
|title="Chronology" in: The Picasso Project: Synthetic Cubism, 1912-1917
|url=https://www.art-books.com/the-picasso-project.php
|year=2016
|publisher=Alan Wofsy Fine Arts
|isbn=978-1-55660-332-7}}
* {{cite book
|last=Krauss
|first=Rosalind E.
|author-link=Rosalind E. Krauss
|title=The Picasso Papers
|url=https://books.google.com/books?id=pqXqbN4XUhcC
|year=1999
|publisher=MIT Press
|isbn=978-0-262-61142-8}}
* {{cite book
|last=Mallén
|first=Enrique
|title=The Visual Grammar of Pablo Picasso
|url=https://books.google.com/books?id=EJAVAQAAIAAJ
|year=2003
|publisher=Peter Lang
|location=New York
|isbn=978-0-8204-5692-8}}
* {{cite book
|last=Mallén
|first=Enrique
|title=La sintaxis de la carne: Pablo Picasso y Marie-Thérèse Walter
|url=https://books.google.com/books?id=EXoA4M1LnSkC
|year=2005
|publisher=Red Internacional del Libro
|location=Santiago de Chile
|isbn=978-956-284-455-0}}
* {{cite book
|last=Mallén
|first=Enrique
|title=A Concordance of Pablo Picasso's Spanish Writings
|url=https://books.google.com/books?id=NvltPgAACAAJ
|year=2009
|publisher=[[Edwin Mellen Press]]
|location=[[Lewiston, New York]]
|isbn=978-0-7734-4713-4}}
* {{cite book
|last=Mallén
|first=Enrique
|title=A Concordance of Pablo Picasso's French Writings
|url=http://www.mellenpress.com/mellenpress.cfm?bookid=8152&pc=9
|access-date=8 October 2010
|year=2010
|publisher=[[Edwin Mellen Press]]
|location=[[Lewiston, New York]]
|isbn=978-0-7734-1325-2}}
* Nill, Raymond M. (1987). ''A Visual Guide to Pablo Picasso's Works''. New York: B&H Publishers.
* {{cite book
|last=Picasso
|first=Olivier Widmaier
|title=Picasso: The Real Family Story
|url=https://archive.org/details/isbn_9783791331492
|url-access=registration
|year=2004
|publisher=Prestel
|isbn=978-3-7913-3149-2}}
* {{cite book
|last=Rubin
|first=William
|title=Pablo Picasso: A Retrospective
|url=https://books.google.com/books?id=8RRMPgAACAAJ
|year=1981
|publisher=Little Brown & Co
|isbn=978-0-316-70703-9}}
* {{cite book
|last=Wattenmaker
|first=Richard J.
|title=Great French Paintings from the Barnes Foundation: Impressionist, Post-impressionist, and Early Modern
|url=https://books.google.com/books?id=wq_WAAAAMAAJ
|year=1993
|publisher=Alfred A. Knopf
|location=New York
|isbn=978-0-679-40963-2}}
* {{cite book
|last=Wertenbaker
|first=Lael Tucker
|title=The World of Picasso (1881– )
|url=https://archive.org/details/worldofpicasso1800wert
|url-access=registration
|year=1967
|publisher=Time-Life Books}}

==Further reading==
* {{cite book |last1=Gedo |first1=Mary Matthews |title=Picasso: Art as Autobiography |date=2009 |publisher=University of Chicago Press |location=Chicago |isbn=9780226284828}}
* {{cite book |editor1-last=Penrose |editor1-first=Roland |editor2-last=Golding |editor2-first=John |title=Picasso in Retrospect |date=1980 |publisher=Harper & Row |location=New York, NY |isbn=978-0064301015 |edition=Icon}}
* Alexandra Schwartz, [https://www.newyorker.com/magazine/2019/07/22/how-picassos-muse-became-a-master "Painted Love: The artist Françoise Gilot was Picasso's lover, helpmate, and muse. Then she wanted more"], ''[[The New Yorker]]'', 22 July 2019, pages 62–66. "[L]ives ''were'' trampled. Picasso died, at the age of ninety-one, in 1973. In 1977, [[Marie-Thérèse Walter]] hanged herself; eight years later, [[Jacqueline Roque]], Gilot's successor and Picasso's second wife, shot herself in the head. Paulo, his son with [[Olga Khokhlova|Olga [Khokhlova]]], drank himself to death, in 1975, and Paulo's son, Pablito, killed himself by swallowing bleach when he was barred from attending his grandfather's funeral." (p.&nbsp;66.)

== External links ==
{{commons category|Pablo Picasso}}
{{Wikiquote|Pablo Picasso|Picasso}}
* {{Internet Archive author |sname=Pablo Picasso |sopt=t}}
* {{Discogs artist|Pablo Picasso|Picasso}}
* {{IMDb name|0681444|Picasso}}
* {{FrenchSculptureCensus | 2=Picasso}}
* {{cite web|url=http://picasso.shsu.edu/|title=On-line Picasso Project}}
* [https://collections.lacma.org/node/166980 Picasso] at the [[Los Angeles County Museum of Art]] (LACMA)
* {{MoMA artist|4609|Picasso}} (MoMA) (New York City, New York)
* [https://museepicassoparis.fr/ Musée Picasso Paris] (Paris, France)
* [https://museopicassomalaga.org Museo Picasso Málaga] (Málaga, Spain)
* [https://www.museupicasso.bcn.es Museu Picasso] (Barcelona, Spain)
* [https://www.sierranortemadrid.org/museo-picasso-buitrago/ Museo Picasso] (Buitrago de Lozoya, Spain)
* [https://www.nga.gov/content/ngaweb/Collection/artist-info.1783.html#works Picasso] at the [[National Gallery of Art]] (Washington, DC)
* [https://gallica.bnf.fr/ark:/12148/bpt6k1073374c/f81.item Picasso, L'Esprit nouveau: revue internationale d'esthétique, 1920]. Gallica, Bibliothèque nationale de France

{{Pablo Picasso}}
{{Modernism}}
{{Cubism}}
{{Guernica}}
{{Authority control (arts)|country=ES|state=expanded}}

{{DEFAULTSORT:Picasso, Pablo}}
[[Category:Pablo Picasso| ]]
[[Category:1881 births]]
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[[Category:19th-century Spanish male artists]]
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[[Category:Ballet designers]]
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[[Category:Deaths from pulmonary edema]]
[[Category:Directors of the Museo del Prado]]
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[[Category:Recipients of the Lenin Peace Prize]]
[[Category:Spanish modern painters]]
[[Category:Painters of the Return to Order]]
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[[Category:People of Montmartre]]
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[[Category:Spanish anti-war activists]]
[[Category:Respiratory disease deaths in France]]
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[[Category:Spanish atheists]]
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[[Category:Spanish cubist artists]]
[[Category:Spanish expatriates in France]]
[[Category:Spanish male painters]]
[[Category:Spanish male sculptors]]
[[Category:Spanish muralists]]
[[Category:Spanish people of the Spanish Civil War (Republican faction)]]
[[Category:Spanish potters]]
[[Category:Spanish surrealist artists]]
[[Category:Spanish war artists]]
[[Category:Spanish Anti-Francoists]]
[[Category:Picasso family| ]]