"Picasso's life and art were inseparable from the beginning. As a young man, after mastering what hiss artist father, José Ruiz y Blasco, could teach him, he set about finding the people, art, ideas and practices that would continue to fuel his creativity. He was endlessly curious, always surrounding himself with a circle of engaging friends and lovers. Over the course of more than seven decades, he made use of his art to grapple with the joys and passions, tensions and fears of life. Often, his own psychological state provided the lens through which he saw the world around him, and that vision gave shape to his work. Picasso also tirelessly investigated the terms and possibilities of artistic expression, his pictorial vocabulary extending from a vivid naturalism to a range of distorted and abstracted forms. He once said, 'If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them.'"
Published by National Portrait Gallery. By Elizabeth Cowling.
Picasso's styles are matched to his fluctuating social circles in this look at the maestro's evolution
From the beginning of his career until its end, Pablo Picasso’s prime subject was the human figure, and portraiture remained a favorite genre for the artist. Picasso’s portraiture reflected the full range of his innovative styles--Symbolist, Cubist, Neoclassical, Surrealist, Expressionist. Depicting people in his intimate circle rather than working to commission enabled Picasso to take an expressive, radically experimental approach to making portraits. However extreme his departure from representational conventions, Picasso never wholly abandoned drawing from the sitter or ceased producing portraits of classic beauty and naturalism. He remained in constant dialogue with the art of the past, and his portraits often alluded to canonical masterpieces. Treating favorite Old Masters as indecorously as his intimate friends, he created suites of free “variations” after Velázquez’s “Las Meninas” and Rembrandt’s “The Prodigal Son.”
These dizzying stylistic shifts of Picasso’s long career can be traced through their manifestations in his portraits. Picasso Portraits tells this story thematically, with a focus on Picasso’s creative process rather than his biography. Issues addressed in depth in this volume include Picasso’s exploitation of familiar poses and formats, his sources of inspiration among the Old Masters and the relationship between observation, memory and fantasy.
The legendary life and career of Pablo Picasso (1881–1973) spanned nearly the entire 20th century and ushered in some of its most significant artistic revolutions. Hard to overestimate in importance or originality, Picasso’s style is perhaps best captured in the words of his friend Paul Éluard: “Picasso paints like God or the devil.”
Elizabeth Cowling is Emeritus Professor of the History of Art at the University of Edinburgh. Her publications include Picasso: Style and Meaning (2002) and Visiting Picasso: The Notebooks and Letters of Roland Penrose (2006). She has co-curated several exhibitions, including Picasso Sculptor/Painter (1994), Matisse Picasso (2002), and Picasso Looks at Degas (2010).
Published by The Museum of Modern Art, New York. Edited by Ann Temkin, Anne Umland. Text by Luise Mahler, Virginie Perdrisot.
Published in conjunction with the first large-scale retrospective of Picasso's sculpture in the US since The Museum of Modern Art's historic show of 1967, Picasso Sculpture is a sweeping survey of the artist's profoundly innovative and influential work in three dimensions. Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status in Picasso's oeuvre. He kept the majority of his sculptures in his private possession during his lifetime, and it was only in the late 1960s that the public became fully aware of this side of his oeuvre. Picasso Sculpture presents approximately 150 sculptures--many of them captured in newly commissioned and sometimes multi-view photographs--alongside a selection of works on paper and photographs. Organized into chapters that correspond to distinct periods during which Picasso devoted himself to sculpture, the publication features an introduction by the exhibition curators as well as a richly illustrated documentary chronology focusing on the sculptures included in the exhibition. A comprehensive bibliography and list of historic exhibitions related to Picasso's work in sculpture closes the volume, advancing the understanding of Picasso's practice and lifelong commitment to constant reinvention.
Ann Temkin is The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at The Museum of Modern Art, New York.
Anne Umland is The Blanchette Hooker Rockefeller Curator of Painting and Sculpture at MoMA.
Luise Mahler is Assistant Curator in the Department of Painting and Sculpture at MoMA.
Virginie Perdrisot is Curator of Sculpture and Ceramics at the Musée national Picasso, Paris.
Published by Fundación Museo Picasso Málaga/Legado Paul, Christine y Bernard Ruiz-Picasso. Text by José Lebrero Stals, Olivier Widmaier Picasso, Jean Clair.
Throughout Pablo Picasso’s career, members of his immediate family were portrayed in a variety of works and media, becoming recurrent motifs. This publication compiles a significant group of portraits from various museums and private collections. Produced between 1906 and 1971, many of the works reproduced here were inspired by the female companions with whom Picasso shared his life, such as Fernande Olivier, Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot and Jacqueline Rogne, as well as by his children, Paloma, Claude and Paul. The artworks in Pablo Picasso: Family Album, which range from oil paintings and drawings to sculptures, linocuts and engravings, suggest a special harmony in Picasso’s life between familial and artistic realms.
PUBLISHER FUNDACIóN MUSEO PICASSO MáLAGA/LEGADO PAUL, CHRISTINE Y BERNARD RUIZ-PICASSO
BOOK FORMAT Hardcover, 9.25 x 12.5 in. / 160 pgs / 55 color / 96 duotone.
PUBLISHING STATUS PUB DATE 3/31/2014 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2014 p. 126
PRODUCT DETAILS ISBN 9788494024986TRADE LIST PRICE: $65.00 CDN $75.00
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Published by Actes Sud. Introduction by Michèle Moustashar.
In 1971, two years before his death, Picasso offered the Réattu Museum and the city of Arles a collection of 57 drawings that he had produced over a 35-day period. The drawings are among Picasso’s last works, and they frequently reprise his familiar figures, summoning up reincarnations, metamorphoses and variations of earlier works. These drawings are also remarkable for their material modesty--Picasso drew on anything lying around his workshop, including pieces of cardboard, packaging wrap, brown paper files and blotter-like supports. The lines are clearly executed in haste, with the fluency of a felt-tip rather than traditional ink. Color is applied with wax crayons, while displaying Picasso’s familiar restraint in the range of palette. This French–English bilingual edition presents the full extent of the 1971 donation, and includes a selection of photographic portraits of Picasso by photographers André Villers, Lucien Clergue, Willy Ronis and Robert Doisneau.
Published by Kerber. Edited and with preface by Ingrid Mössinger, Kerstin Drechsel. Text by Aeneas Bastian, Jakob Mattner, Ingrid Mössinger.
Suite Vollard comprises 100 etchings done by Pablo Picasso (1881–1973) between 1930 and 1937. Picasso’s dealer and publisher, Ambroise Vollard, was given 97 of the copper etching plates by Picasso in 1937 in trade for some paintings by other artists, and Picasso later created three etchings of Vollard himself to bring the total number of plates to 100. The whole series as presented here displays Picasso’s infectious enjoyment of and experimentation with printmaking through the great variety of etching techniques he deploys, starting with line etching in most cases, then adding drypoint and later aquatint and, for the final images in the series, mastering the technique known as sugar lift. With virtuoso skill, Picasso develops his themes--the battle of love, the sculptor’s studio, Rembrandt, the Minotaur--while tipping his hat to Neoclassicism. Please note the text is in the German language only.
Published by Hatje Cantz. Text by Anita Haldemann, Henriette Mentha, Christian Spies, Seraina Werthemann, Nina Zimmer.
The public reception of Pablo Picasso’s (1881–1973) art is inextricably bound up with the early support of his first collectors--men such as Raoul La Roche, Rudolf Staechelin, Karl Im Obersteg and Maja Sacher-Stehlin, who were buying his work from c. 1918 on--as well as the Basel art historians Georg Schmidt and Christian Geelhaar, who were among the first to recognize the role Picasso would play in twentieth-century art. This publication accompanies a large-scale retrospective of the artist’s work, the first to unite the collections of the Kunstmuseum Basel and the Fondation Beyeler, assembled with donations from the private collections of the above patrons. The Picassos Are Here! allows us to perceive astonishing correlations between the artist’s many periods, from the “Blue Period” to Cubism and the Surrealist-influenced paintings of the 1930s, to the postwar and late works.
Published by Hatje Cantz. Text by Elisabeth Bronfen, Siri Hustvedt, Michael Köhlmeier, Richard Shiff, Uwe M. Schneede, Carla Schulz-Hoffmann, Feridun Zaimoglu.
The depictions and roles of women in the paintings of Pablo Picasso (1881–1973), Max Beckmann (1884–1950) and Willem de Kooning (1904–1997) typically give rise to conversations and presumptions about machismo and misogyny. Of course, these artists’ portrayals of women cannot be dismissed so easily, and in fact all offer highly nuanced explorations of the theme. This publication explores their depictions of women as more than painterly projections of male longing and desire, treating them as reflections of social and political conflicts and upheavals. Contributions from art historians, sociologists and artists approach the figures of women in these bodies of work from a variety of perspectives: for Picasso, as a catalyst for a confrontation with the artist’s own life and history; for Beckmann, as completely independent themes; and for de Kooning, as the force that makes artistic expression itself possible.
Published by Fundación Museo Picasso Málaga. Text and interview by José Lebrero Stals.
Over the past two years, Richard Prince (born 1949) has been working on an intensive assimilation of Picasso, producing a succession of collages and canvases that directly dialogue with the modernist master’s oeuvre. For Picasso, as for Prince, the theme of the female nude is an abiding motif--“he never lets go of the body,” as Prince observes--and Prince’s latest nudes are a typically energetic mixture of appropriation and wonderfully crude, irreverent interjection in the fashion of Duchamp, deploying such materials as ink jet printing, oil crayon, pastel, acrylic, graphite and charcoal. The black-and-white photographs of female nudes are derived from recently published anatomy how-to books, and endow Prince’s homages with a graceful, rhythmic plasticity. This elegantly produced, linen-bound volume (with a bellyband that doubles as a folded poster), published for a 2012 exhibition at the Museo Picasso in Málaga, presents these works for the first time. It includes a brief interview with Prince and critical commentary by José Lebrero Stals.
PUBLISHER FUNDACIóN MUSEO PICASSO MáLAGA
BOOK FORMAT Clth, 8.75 x 11.75 in. / 224 pgs / illustrated throughout.
PUBLISHING STATUS PUB DATE 10/31/2012 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2012 p. 94
PRODUCT DETAILS ISBN 9788493842765TRADE LIST PRICE: $55.00 CDN $65.00
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Published by The Museum of Modern Art, New York. Text by Anne Umland.
“Girl before a Mirror” (1932), one of several standouts in MoMA’s vast collection of Pablo Picasso’s work, takes the traditional artistic theme of a woman before her mirror and reinvents it in radically modern terms. The girl’s profile and blonde hair identify her as Marie-Thérèse Walter, the artist’s lover, muse and a profoundly transformative presence in both his life and art, but the painting is far from a conventional portrait. Its dazzling jewel-like colors, boldly contoured shapes and surface patterning transform the girl and her shadowy reflection into a deeply mysterious image that is both captivating and strange. In her essay, MoMA’s Blanchette Hooker Rockefeller Curator of Painting and Sculpture, Anne Umland, explores this work in depth and describes the circumstances of its creation: the artist’s private life, his practice as a sculptor, his rivalry with other artists both living and dead and his concern, at the age of 51, about his contemporary relevance and artistic legacy.
Published by Ediciones Poligrafa. Text by Palau i Fabre.
Picasso 1926-1939: From Minotaur to Guernica focuses on a key phase of transition in Picasso's art, from his numerous depictions of the Minotaur myth in the late 1920s and early 1930s to his majestic and tragic 1937 masterpiece, “Guernica.” The Minotaur, contained in a labyrinth where it was fed Athenian youths, serves in part as a metaphor for destructive bestial drives under containment, but in Picasso's works on the theme, the Minotaur is set free into the world, where it frequently finds itself stumbling and dumbstruck. This expression of destructive drives finally culminates in the terrible aerial bombing recorded in “Guernica.” From Minotaur to Guernica is authored by Catalan poet Josep Palau i Fabre (1917-2008), one of the artist's earliest admirers and experts, who has made several close analyses of other phases in Picasso's prolific career. The volume is housed in a printed slipcase.
Published by The Museum of Modern Art, New York. Text by Anne Umland.
Pablo Picasso's modest yet radical cardboard and sheet metal Guitar sculptures (1912 and 1914, respectively) bracket a truly incandescent period of structural, spatial and material experimentation for the artist. In October 1912, while in what he described as "the process of imagining a guitar," Picasso embraced the techniques of assemblage, collage, construction and mixed-media painting, frequently combining traditional artists' supplies--oil paint, charcoal, pastel, ink--with what were then unconventional materials, including cardboard, newspaper, wallpaper, sheet music and sand. Published in conjunction with an exhibition at The Museum of Modern Art, this volume situates Picasso's Guitars within the constellation of objects that surrounded them in his studio, affording a fresh understanding of the unique material and historical qualities of the artist's work in the years immediately prior to World War I. An essay by Anne Umland, Curator of Painting and Sculpture at the Museum, uses photographs, correspondence, archival records and eyewitness accounts, to explore Picasso's practice and the remarkable institutional history behind the acquisition of the two Guitar sculptures, both gifts to MoMA from the artist.
Published by The Museum of Modern Art, New York. Text by Deborah Wye.
Printmaking was fundamental to Pablo Picasso's artistic vision. Over his long career, he made well over 2,000 printed images, focusing on the intaglio techniques of etching, engraving, drypoint and aquatint, as well as on lithography and linoleum cut. This publication, published to accompany an exhibition at The Museum of Modern Art, explores Picasso's creative process in printmaking starting in the early years of the twentieth century with his Blue and Rose periods, and extending up to the last years of his life. Divided into 12 thematic sections, the book presents highlights from the Museum's extraordinary collection of Picasso's prints. These include such celebrated masterworks as “The Minotauromachy” and “The Weeping Woman” from the 1930s, as well as evolving states that reveal how Picasso's imagery developed. One example of such metamorphosis is seen in a series of lithographs from the 1940s in which a progression is established from the realistic depiction of a bull to one that is completely abstract and captured in just a few lines. Other prints reveal changing interpretations of the women in Picasso's life, who served both as artistic subjects and as catalytic forces for his creativity. Filled with full-page illustrations accompanied by extended captions, A Picasso Portfolio features an essay by Deborah Wye, Chief Curator of Prints and Illustrated Books at MoMA, and introductions to each thematic section. The book concludes with a chronology and bibliography focusing on Picasso's printmaking.
Published by Poligrafa. Edited by Marie-Laure Bernadac, Brigitte Léal, Christine Piot.
Nearly a decade after its initial publication, Picasso: The Monograph 1881-1973 is back in print, updated and redesigned in a more user-friendly format. Poligrafa's brand new edition of this classic volume offers more than 1,200 newly scanned reproductions, spanning Picasso's entire career and illustrating his breathtaking range of artistic expression, including paintings, drawings, lithographs, ceramics and sculpture. Elegantly translated from the original French, the monograph weaves biographical details with thorough elucidations of the artist's work into a concise and seamless narrative. All three contributors are highly regarded in Picasso scholarship: Brigitte Léal and Marie-Laure Bernadac, both former curators of the Musée Picasso in Paris, are now respectively curators of the Centre Pompidou and the Louvre Museum, while Christine Piot co-authored the catalogue raisonné of Picasso's sculpture. Leal covers Picasso's formative years through 1916, including his co-invention of Cubism with Georges Braque. Piot focuses on the artist's glory years from 1917 through 1952, and Bernadac discusses the vigor of Picasso's later years, from 1953 until his death in 1973. With clearly organized visual sources, acknowledgements of leading art historians' interpretations and quotes from Picasso's contemporaries, this book remains unsurpassed as the definitive Picasso monograph for students and art lovers alike.
Published by The Museum of Modern Art, New York. Text by Carolyn Lanchner.
Henri Matisse, Pablo Picasso, Joan Miró and Andy Warhol each significantly shaped the development of art in the twentieth century. These Modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in color and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former Curator of Painting and Sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the Modern canon and for those who wish to understand the contributions of individual artists to the history of Modern art. This volume focuses on Picasso.
Published by Hatje Cantz. Edited by Werner Spies. Preface by Klaus Albrecht Schröder. Text by Jean Clair and Armin Zweite.
No other painter has had a more lasting influence on twentieth-century art than Pablo Picasso. Among the many phases and styles encompassed by his oeuvre, Picasso's late period--which he spent in Mougins, in the South of France, until his death in 1973--has a very special position. For the highly charged paintings that Picasso made during the last decade of his life, often featuring close-ups of the kiss or copulation, seem to cling with all their might to the artist's intense sensuality, his desire for embrace. They are marked by a great restlessness whose aim must be to exorcise death itself. "Wild" paintings rapidly executed by Picasso's masterly hand, the late canvases stand in marked contrast to the artist's detailed, carefully executed drawings of the same period, which are dominated by a unique joy in narrative. This substantial new volume, edited by Werner Spies, former director of the Centre Georges Pompidou in Paris and the most important Picasso expert of our day, examines almost 200 works, including paintings, drawings, prints and sculptures, shedding light on the specific methods and dialectics in Picasso's later work. In particular, the sense of the artist's race against time is made clear through the exciting dialogue that emerges here between painting and drawing. As Picasso himself said, "The works that one paints are a way of keeping a diary."
Published by Hatje Cantz. Edited by Olivier Berggruen. Text by Olivier Berggruen, Robert Hobbs, Max Hollein, Esther Schlicht, Alexander Schouvaloff, Ornella Volta, Diana Widmaier-Picasso.
Forty years ago, the first time anyone thought to consider Picasso's theatrical work as a unified portfolio, Jean Cassou, then the Director of the Musee d'Arte Moderne in Paris, observed that the work occupied "a great place in his career. His whole genius, his entire work, including his still lifes, have a theatrical character." In his early years, Picasso discovered the theater as a source of inspiration and motifs. His subjects frequently came from carnivals and vaudeville, and he reveled in the conventions of commedia dell'arte figures such as the Harlequin and Pierrot. This fascination was not only reflected in the motifs of Picasso's countless paintings and drawings: Beginning in 1917, he began working intensively with Diaghilev's Ballets Russes, creating his now-famous sets and costumes for the troupe. For Picasso, the stage proved to be an extraordinarily fertile ground, and performance the subject of ever more paintings and sculptures. Picasso and the Theatre features over 80 works dating between 1900 and 1930, and taps an elemental passion of this universally revered artist.
Published by Mitchell-Innes & Nash. Essays by John Richardson and Marilyn McCully.
This facsimile of a Picasso sketchbook is reproduced in such detail that readers can track the master's red marker pen bleeding through from one side of a page to the next--a subject's varnished nails appear on the verso as abstracted hatchmarks, and the red of her lips as a squiggle. Picasso began The Berggruen Album on November 5, 1970, days after his eighty-ninth birthday, in his words, "to make sure my hand has not developed a wobble." He had just conceived a series of a dozen powerful canvases inspired by the bullfights at Frejus, and in these delicate, sexual, voyeuristic sketches, he proves his soundness of body and personality, his unmatchable fitness to paint. An index of thumbnail sized prints pairs many of the works that inspired them or evolved from them, from Ingres to finished Picassos. The book closes with essays by Marilyn McCully and John Richardson, whose A Life of Picasso won the Whitbread Prize.
Published by Hatje Cantz Publishers. Edited by Ina Conzen. Essays by Dominique Dupuis-Labb», Guido Messling, Anke Spàtter and Ina Conzen.
No 20th-century artist enjoys greater popularity than Pablo Picasso, and none has been exhibited more often or studied so intensely. Yet there remains uncharted territory on the map of the master's extensive oeuvre, which spanned one of the most tumultuous, experimental periods of art history: the seaside figural scenes that fascinated Picasso throughout his life. From his early Cubist period in the first years of the century through his classicizing phase and into his late work of the 1960s, Picasso returned again and again to this sand-and-sea theme. Even in 1937, when he was so powerfully engaged with the horrors of the Spanish Civil War, sketching preparatory drawings for Guernica, he was also busy executing a group of decidedly non-political works representing bathers. The resulting paintings, including On the Beach(also known as Girls with a Toy Boat) recall his earlier Three Bathers from 1920. Here as elsewhere, Picasso developed a series of novel approaches to form and content, methods whose richness and radical unconventionality derive from the artist's observations of the uninhibited movements of bodies in open air. The subject of bathers, so close to the heart of many of the 20th century's most important artists, is illuminated in this richly illustrated volume. Full-color reproductions present some 130 works from across Picasso's creative periods. Completing the panorama are comparable works by artists known to have inspired Picasso, among them Cªzanne, Matisse, Renoir, Andrª Derain, Georges Braque, Fernand Lªger, and Miro.
Picasso once said, “It is my misfortune--and probably my delight--to use things as my passions tell me.” And so he did, throughout his long life, across a stylistically pluralist oeuvre in which his amorous life could be traced through the lines of women's faces. For Picasso always used his lovers as his models (or his models as his lovers, depending on your point of view), and Marie-Thérèse Walter was no exception. Picasso met the 17-year-old in 1927, and she soon became his favorite model and muse, as well as his secret lover. Over the next ten years, Picasso intensified his sculptural and graphic work, stylistically ranging between classical and Surrealist, went through an acrimonious and unsuccessful divorce with his wife Olga, and fathered a daughter named Maya with Marie-Thérèse, who lived in the vain hope that one day Picasso would marry her. She hanged herself after his death. This publication, which features a multi-disciplinary selection of masterpieces by the artist, is the second in a series devoted to Picasso and Women; The Time with Françoise Gilot was the first.
Published by Dumont. Edited by Ingrid Müssinger, Beate Ritter and Kerstin Drechsel, Essays by Johannes M. Fox, Norman Mailer, Pierre Daix, Amanda Vail and John Richardson.
Niobid, Lola Ruiz, Corina Romeu, Seìora Soler, Sada Yacco, the three Jeannes, Suzanne Bloch, Alice Derain, Fernande Olivier, Gertrude Stein, Eva Gouel, Fanny Tellier, Gabrielle Depeyre, Ir¿ne Lagut, Eugenia Errazuriz, Olga Picasso, Sara Murphy, Marie-Thªr¿se Walter, Nush Eluard, Lee Miller, Fran°oise Gilot and Dora Maar. Picasso painted, drew and sculpted each and every one of these women, and many, many more. The female sex was arguably more important and central to Picasso's oeuvre than to any other in the 20th century. Not only was the content of his work inspired by them, his stylistic development weaved in and out of his passionate, tumultuous romantic relationships, his female friendships, and his affairs with women patrons, family members, models, admirers and others of the fairer sex. Picasso et Les Femmes presents all the women through the Picassos they modeled for, photographs from the time, and essays by a wide range of contributors, including Norman Mailer, Ingrid M‡ssinger, Diana Widmaier-Picasso, Per Kirkeby, Sabine Rewald, Fran°oise Gilot and Angela Rosengart. But though they are seen here through text and image, recollection and fact, this long list of women remains much as Picasso left them, immortal and a mystery.
Published by Kerber. Artwork by Pablo Picasso. Edited by Markus Müller.
Picasso met Françoise Gilot, the young French student who was to become his muse and favorite model, while waiting out the war years in Paris. She appeared again and again in his works of the 1940s and 50s, often with her face stylized to recall the sun or a plant. It was also during this period--known as his Periode Françoise--that Picasso employed a cheerful palette not seen before in his work. His concurrent interest in the motifs of Mediterranean antiquity and mythology, from dancing centaurs to music-making fauns, is attributed to a stay in the Cap d'Antibes on the Côte d'Azur in 1946. In this volume, internationally recognized French and German Picasso scholars consider the different facets of the artist's work during this period. Rich illustrations illuminate the connections between the motifs of his paintings and sculptural and graphic work. Also included are reproductions of Françoise Gilot's own work, thus allowing entry into the artistic dialogue that occurred between Picasso and his young partner, who separated from him in 1953.
Published by Hatje Cantz Publishers. Artwork by Pablo Picasso. Text by Werner Spies.
For years Pablo Picasso's sculptural oeuvre was one of the best-kept secrets of 20th century art. It was only through retrospectives in Paris, London and New York during the 1960's that Picasso the sculptor became known to a larger public*who discovered a complexity and variety in his sculptures that easily rivals that of his paintings and drawings. Pablo Picasso: The Sculptures is catalogue raisonnª of Picasso's sculptures, a seminal work informed by conversations between the author, Picasso specialist Werner Spies, and Picasso himself. The present edition has been thoroughly revised and now includes numerous color illustrations of important pieces. In all this volume features over 740 works by the artist, ranging from miniature paper figures to constructions from metal, wood, and found objects, from folding sculptures made from tin to massive, at times monumental works. A definitive statement on Picasso's sculptural oeuvre, this book provides a key to understanding and appreciating works that, in their ingenuity and their inventiveness, still provide an inexhaustible source of inspiration for today's artists.