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Pablo Picasso

Pablo Picasso, La vie, 1903 Oil on canvas, 77 ⅜ × 50 ⅞ inches (196.5 × 129.2 cm), Cleveland Museum of Art© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La vie, 1903

Oil on canvas, 77 ⅜ × 50 ⅞ inches (196.5 × 129.2 cm), Cleveland Museum of Art
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La famille de saltimbanques, 1905 Oil on canvas, 83 ¾ × 90 ⅜ inches (212.8 × 229.6 cm), National Gallery of Art, Washington, DC© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La famille de saltimbanques, 1905

Oil on canvas, 83 ¾ × 90 ⅜ inches (212.8 × 229.6 cm), National Gallery of Art, Washington, DC
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Le réservoir (Horta de Ebro), summer 1909 Oil on canvas, 24 ⅛ × 20 ⅛ inches (61.5 × 51.1 cm), Museum of Modern Art, New York© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Le réservoir (Horta de Ebro), summer 1909

Oil on canvas, 24 ⅛ × 20 ⅛ inches (61.5 × 51.1 cm), Museum of Modern Art, New York
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Nature morte au journal, spring 1912 Oil and charcoal on canvas, 17 ⅝ × 15 ⅛ inches (46 × 38.5 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Nature morte au journal, spring 1912

Oil and charcoal on canvas, 17 ⅝ × 15 ⅛ inches (46 × 38.5 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La verre d’absinthe, 1914 Painted bronze in white and red and white metal spoon, 8 ¼ × 5 ½ × 2 ¾ inches (21 × 14 × 17 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La verre d’absinthe, 1914

Painted bronze in white and red and white metal spoon, 8 ¼ × 5 ½ × 2 ¾ inches (21 × 14 × 17 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Potrait d’Olga dans un fauteuil, winter 1917–18 Oil on canvas, 51 1⅛ × 35 inches (130 × 88.8 cm), Musée Picasso, Paris© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Potrait d’Olga dans un fauteuil, winter 1917–18

Oil on canvas, 51 1⅛ × 35 inches (130 × 88.8 cm), Musée Picasso, Paris
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Portrait de Paul en torero, 1925 Oil on canvas, 63 ¾ × 38 ¼ inches (162 × 97 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Portrait de Paul en torero, 1925

Oil on canvas, 63 ¾ × 38 ¼ inches (162 × 97 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Figure au bord de la mer, 1929 Oil on canvas, 51 ⅛ × 38 ⅛ inches (129.9 × 96.8 cm), Metropolitan Museum of Art, New York© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Figure au bord de la mer, 1929

Oil on canvas, 51 ⅛ × 38 ⅛ inches (129.9 × 96.8 cm), Metropolitan Museum of Art, New York
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Femme nue, feuilles et buste, 1932 Oil on canvas, 63 ¾ × 51 ¼ inches (162.1 × 130 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Femme nue, feuilles et buste, 1932

Oil on canvas, 63 ¾ × 51 ¼ inches (162.1 × 130 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Tête casquée, 1933 Bronze with brown-black patina, 47 ⅝ × 27 ¼ × 12 ⅝ inches (121 × 69 × 32 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Tête casquée, 1933

Bronze with brown-black patina, 47 ⅝ × 27 ¼ × 12 ⅝ inches (121 × 69 × 32 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Guernica, May 1–June 4, 1937 Oil on canvas, 137 ½ × 305 ¾ inches (349.3 × 776.6 cm), Museo Nacional Centro de Arte Reina Sofía, Madrid© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Guernica, May 1–June 4, 1937

Oil on canvas, 137 ½ × 305 ¾ inches (349.3 × 776.6 cm), Museo Nacional Centro de Arte Reina Sofía, Madrid
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Tête de taureau, spring 1942, cast and assembled 1943 Bronze, 16 ½ × 16 ⅛ × 5 ⅞ inches (42 × 41 × 15 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Tête de taureau, spring 1942, cast and assembled 1943

Bronze, 16 ½ × 16 ⅛ × 5 ⅞ inches (42 × 41 × 15 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Portrait de Françoise, May 20, 1946 Graphite on paper, 26 × 19 ¾ inches (65.8 × 50.5 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Portrait de Françoise, May 20, 1946

Graphite on paper, 26 × 19 ¾ inches (65.8 × 50.5 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La femme-fleur (Françoise Gilot), June 1946 Oil on canvas, 68 ½ × 26 inches (174 × 66 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La femme-fleur (Françoise Gilot), June 1946

Oil on canvas, 68 ½ × 26 inches (174 × 66 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Maternité sur fond blanc, February 4, 1953 Oil on plywood, 51 ¼ × 38 ¼ inches (130 × 97 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Maternité sur fond blanc, February 4, 1953

Oil on plywood, 51 ¼ × 38 ¼ inches (130 × 97 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Tanagra noire et bleue, 1953 White terracotta, modeled, (elements applied), painted with white, blue, black, and maroon oxides and black slips, and partial underglaze on the base, 26 ¼ × 8 ¼ × 8 inches (66.5 × 20 × 21 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Tanagra noire et bleue, 1953

White terracotta, modeled, (elements applied), painted with white, blue, black, and maroon oxides and black slips, and partial underglaze on the base, 26 ¼ × 8 ¼ × 8 inches (66.5 × 20 × 21 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Musicien assis, 1956 Pastel on cut and painted plywood, 29 ¼ × 20 ¾ inches (74 × 52.5 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Musicien assis, 1956

Pastel on cut and painted plywood, 29 ¼ × 20 ¾ inches (74 × 52.5 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Les Ménines: vue d’ensemble (d’après Valázquez), 1957 Oil on canvas, 76 ⅜ × 102 3⅜ inches (194 × 260 cm), Museu Picasso, Barcelona© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Les Ménines: vue d’ensemble (d’après Valázquez), 1957

Oil on canvas, 76 ⅜ × 102 3⅜ inches (194 × 260 cm), Museu Picasso, Barcelona
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Femme au plateau et à la sébille, 1961 Metal cutout, bent, 45 × 24 ½ × 14 inches (114.6 × 62 × 35.5 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Femme au plateau et à la sébille, 1961

Metal cutout, bent, 45 × 24 ½ × 14 inches (114.6 × 62 × 35.5 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Femme nue couchée, jouant avec un chat, February 17 and March 9, 1964 Oil on canvas, 51 ¼ × 76 ¾ inches (130 × 195 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Femme nue couchée, jouant avec un chat, February 17 and March 9, 1964

Oil on canvas, 51 ¼ × 76 ¾ inches (130 × 195 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Tête d’homme du XVIIème siècle de face, April 2, 1967 Oil on canvas, 25 ½ × 21 ½ inches (65 × 54.5 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Tête d’homme du XVIIème siècle de face, April 2, 1967

Oil on canvas, 25 ½ × 21 ½ inches (65 × 54.5 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La Célestine, 1970 66 impressions by various techniques, pulled on tinted Rives wove paper by Crommelynck, 29 ½ × 41 ¼ inches (74.8 × 105 cm), edition of 9 AP© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, La Célestine, 1970

66 impressions by various techniques, pulled on tinted Rives wove paper by Crommelynck, 29 ½ × 41 ¼ inches (74.8 × 105 cm), edition of 9 AP
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Personnage, August 14, 1971 Oil on canvas, 76 ¾ × 51 ¼ inches (195 × 130 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Personnage, August 14, 1971

Oil on canvas, 76 ¾ × 51 ¼ inches (195 × 130 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Étreinte, June 1, 1972 Oil on canvas, 51 ¼ × 76 ¾ inches (130 × 195 cm)© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

Pablo Picasso, Étreinte, June 1, 1972

Oil on canvas, 51 ¼ × 76 ¾ inches (130 × 195 cm)
© 2018 Estate of Pablo Picasso/Artist Rights Society (ARS), New York

About

Every act of creation is first of all an act of destruction.
—Pablo Picasso

Painter, draftsman, sculptor, printmaker, photographer, ceramicist, designer, playwright, and poet, Pablo Ruiz Picasso (1881–1973) contributed peerless innovations to the visual culture of the twentieth century. He created several of the great masterpieces of modernism, including Les Demoiselles d’Avignon (1907) and Guernica (1937), co-invented collage and Cubism, designed groundbreaking sets and costumes for the theater, coined the term “sur-realism,” and invented assembled sculpture (assemblage). Driven by boundless artistic energies and ambitions, he was the very personification of the avant-garde, and many of the movements of the last century could not help but develop in his orbit as artists worked consciously either to absorb his influence or rebel in his shadow.

Born in Málaga, Spain, on the Mediterranean coast, Picasso began painting and drawing under the tutelage of his father, José Ruiz Blasco, himself a painter and an art school instructor. Picasso proved to be a child prodigy, achieving a remarkable academic facility at a young age, and studied formally at art schools in La Coruña, Barcelona, and Madrid. He began to visit Paris in 1901, settling there permanently in 1904. Picasso was influenced by the Modernisme movement in Barcelona and by Post-Impressionism and the Fauves in Paris, yet developed variations distinctly his own.

Early in his career Picasso’s styles and subjects developed in tandem: the poverty in which he and his friends lived manifested in the Blue Period (1901–04); circus performers, harlequins, and the blush of love informed the Rose Period (1904–06). But for the remainder of his career, his essential subjects were perception itself, the mysteries of representation, and his own ability to create. A respect for indigenous African and Polynesian sculpture began to shape the way he depicted volume and mass in the proto-Cubist period that led to Les Demoiselles d’Avignon. With Georges Braque, he incorporated the lessons of Paul Cézanne’s facture and perspective, jump-cut shifts in time from the cinema, and the uncanny improvisations of collage and assemblage to forge the most radical approach to depicting spatial relationships since the Renaissance: Analytic Cubism (1909–12) and Synthetic Cubism (1912–19). These experiments would form the foundation of an idiosyncratic idiom that would permeate his work across all mediums and changes in style for the next fifty years.

The 1920s saw further developments in Cubism; a reflection of his Mediterranean heritage in a muscular neoclassical style; fine, Ingre-esque portraits inspired by photography; and Surrealist, sexy, biomorphic mutations influenced as much by Ovid’s Metamorphoses as by Sigmund Freud. Though his work always remained recognizably his own, Picasso could switch tracks and move between styles in a way that might suggest the work of several painters rather than a singular polymath.

Picasso dedicated much of his effort in the early 1930s to sculpture and printmaking and curated his first career retrospective, an exhibition of 236 works presented at the Galerie Georges Petit, Paris, and the Kunsthalle Zürich in 1932. In 1935 he stopped painting and sculpting for nearly a year to dedicate his time to writing poetry. As the Spanish Civil War intensified, the Republican government named him director of the Museo del Prado in Madrid (albeit in absentia) and commissioned him to create a mural for the Spanish Pavilion of the Paris International Exposition of 1937. He took as his subject the recent destruction of the Basque town of Guernica by Nazi and Italian forces at the behest of the rival Spanish Nationalists, creating one of the most enduring antiwar icons in history. Though Guernica made him a political target of the Fascist regimes, he remained in Paris for the duration of World War II, surviving the Nazi occupation.

After the war Picasso moved to the south of France, where he would reside for the rest of his life. Classical, Mediterranean themes returned to his work. He was offered a municipal museum in Antibes to use as his studio and gifted the works created there to the town, inaugurating the first museum dedicated to his work (Musée Picasso, Antibes). He engaged with the ancient pottery traditions of the town of Vallauris to create ceramics and revived his sculptural practice, making assemblages from roadside refuse and innovative silhouettes of folded sheet-metal. He also created paintings, drawings, and prints, often in series, challenging the history of painting by confronting his heroes, the great masters of the past: Diego Velázquez, Rembrandt van Rijn, Francisco Goya, Eugène Delacroix, Édouard Manet, and Edgar Degas. By appropriating their compositions, improvising on their themes, and sometimes even incorporating these masters as characters in his own invented narratives, Picasso secured his place among them.

Picasso was widely exhibited during his lifetime and continues to be so posthumously. He died in Mougins, France, in 1973, leaving no will. He was married twice: first to Olga Khokhlova in 1917, and then to Jacqueline Roque in 1961. In addition, he had partners who served as important muses to his oeuvre: Fernande Olivier (1904–12), Marie-Thérèse Walter (1927–c. 1940), Dora Maar (1936–c. 1945), and Françoise Gilot (1943–53). He had five children: Paul (with Khokhlova), Maya (with Walter), Claude (with Gilot), Paloma (with Gilot), and a stepdaughter, Cathy (Roque’s daughter from a previous marriage). The settlement of Picasso’s estate in 1979 allowed for the establishment of the Musée national Picasso, Paris.

Pablo Picasso

Photo: Michael Sima/Rue des Archives/Granger

Fairs, Events & Announcements

Picasso and Maya: Father and Daughter (New York: Gagosian, 2019)

Book Launch

Picasso and Maya
Father and Daughter

November 29–December 20, 2019
Gagosian, 4 rue de Ponthieu, Paris

Gagosian and Diana Widmaier-Picasso are presenting a small exhibition to celebrate the publication of Picasso and Maya: Father and Daughter. This comprehensive reference publication explores the figure of Maya Ruiz-Picasso, Pablo Picasso’s beloved eldest daughter, throughout Picasso’s work and chronicles the loving relationship between the artist and his daughter. On view will be a painting by Picasso, photographs of work by Picasso taken by Roe Ethridge, and a selection of the original archival materials featured in the book.

Download the full press release in English (pdf) or French (pdf)

Picasso and Maya: Father and Daughter (New York: Gagosian, 2019)

Jean Cocteau in front of one of the several murals he painted on the walls of Francine Weisweiller’s Villa Santo Sospir, Saint-Jean-Cap-Ferrat, France, 1954. Photo: Edward Quinn

Art Fair

FIAC 2019

October 17–20, 2019, booth B33
Grand Palais, Paris
fiac.com

Gagosian is pleased to participate in FIAC 2019 with Artists on the French Riviera, a special presentation that explores twentieth-century artistic life on the Côte d’Azur. On display are works by Alexander Calder, Jean Cocteau, Alberto Giacometti, Yves Klein, Fernand Léger, Man Ray, Henri Matisse, Francis Picabia, Pablo Picasso, and Edward Quinn, among others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at fiac.com.

Download the full press release in English (PDF) or French (PDF)

Jean Cocteau in front of one of the several murals he painted on the walls of Francine Weisweiller’s Villa Santo Sospir, Saint-Jean-Cap-Ferrat, France, 1954. Photo: Edward Quinn

Jeff Koons, Sacred Heart (Magenta/Gold), 1994–2007 © Jeff Koons

Art Fair

Art Basel 2019

June 13–16, 2019, booth C9
Messe Basel
www.artbasel.com

Gagosian is pleased to participate in Art Basel, presenting works by Georg Baselitz, Joe Bradley, Alexander Calder, Willem de Kooning, Urs Fischer, Ellen Gallagher, Alberto Giacometti, Katharina Grosse, Mark Grotjahn, Jeff Koons, Man Ray, Albert Oehlen, Pablo Picasso, Richard Prince, Ed Ruscha, Richard Serra, Andy Warhol, Mary Weatherford, Tom Wesselmann, and Franz West, among others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artbasel.com.

Jeff Koons, Sacred Heart (Magenta/Gold), 1994–2007 © Jeff Koons

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Museum Exhibitions

Chris Burden, 1/4 Carat Diamond 1/4 Carat Cubic Zirconium Magnified 25 Times, #3, 2007 © 2019 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

On View

Crystals in Art
Ancient to Today

Through January 6, 2020
Crystal Bridges Museum of American Art, Bentonville, Arkansas
crystalbridges.org

Crystals in Art explores the connections between crystals and art throughout the world, spanning history and geography. The exhibition includes a selection of works and specimens from ancient Egypt up to the present day and addresses broader recurring themes in the history of crystals such as science and religion, art and medicine, aesthetic beauty and transformation, and more. Work by Chris Burden, Pablo Picasso, Cindy Sherman, and Andy Warhol is included.

Chris Burden, 1/4 Carat Diamond 1/4 Carat Cubic Zirconium Magnified 25 Times, #3, 2007 © 2019 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Andy Warhol, Self-Portrait, 1966 © The Andy Warhol Foundation for the Visual Arts, Inc./2019 ProLitteris, Zurich

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Ombres
De la Renaissance à nos jours

June 28–October 27, 2019
Fondation de l’Hermitage, Lausanne, Switzerland
www.fondation-hermitage.ch

The Fondation de l’Hermitage is exploring the use of the shadow in Western iconography. The exhibition features an entirely new selection of nearly 140 artworks, representing a diverse range of artistic forms, from painting to installation, sculpture, prints, drawings, cutouts, photography, and video. Work by Man Ray, Pablo Picasso, and Andy Warhol is included.

Andy Warhol, Self-Portrait, 1966 © The Andy Warhol Foundation for the Visual Arts, Inc./2019 ProLitteris, Zurich

Pablo Picasso, Colombe, 1954, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid © Succession Picasso 2019. Photo: © FABA Marc Domage

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Picasso and Antiquity
Line and Clay

June 20–October 20, 2019
Museum of Cycladic Art, Athens
cycladic.gr

Picasso and Antiquity: Line and Clay includes rare drawings, engravings, and pottery by Pablo Picasso, depicting marine creatures, animals, human figures, and mythological scenes.

Pablo Picasso, Colombe, 1954, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid © Succession Picasso 2019. Photo: © FABA Marc Domage

Yves Klein, Anthropométrie (ANT 84), 1960 © Succession Yves Klein/ADAGP, Paris 2019. Photo: Muriel Anssens/Ville de Nice

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Préhistoire, une énigme moderne

May 8–September 16, 2019
Centre Pompidou, Paris
www.centrepompidou.fr

This exhibition examines the link between prehistory and modern and contemporary art. It reveals that some of the most important artists of the twentieth and early twenty-first centuries have been haunted by the question, What is prehistory? Work by Alberto Giacometti, Yves Klein, Giuseppe Penone, and Pablo Picasso is included.

Yves Klein, Anthropométrie (ANT 84), 1960 © Succession Yves Klein/ADAGP, Paris 2019. Photo: Muriel Anssens/Ville de Nice

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Press

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