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1881. Picasso born October 25 in Málaga. His father, José Ruiz Blasco, an art teacher, came from the north of Spain; his mother, Maria Picasso Lopez, was of Andalusian descent.
1891. The family settles in La Coruña. Young Pablo sketches and paints under his father's instruction and guidance.
1895. In July, short trip to Madrid. From July to September in Málaga. The family moves to Barcelona where the father has been appointed drawing master. Pablo is admitted to the advanced classes in drawing and painting from life at the famous school of art, La Llonja, having completed the difficult entrance examination in a day instead of the month generally necessary for its completion.
He paints: Head of an Old Man, Girl with Bare Feet, Man in a Cap.
1896. First studio in Calle de la Plata, Barcelona. Paints: The Choirboy.
1897. Frequents the café Els Quatre Gats, an artists' haunt like the Chat-Noir in Paris, where artists and habitués exhibit their work. Has his first small exhibition here, which consists mainly of portrait studies of his friends. Rodriguez Codola reviews it in La Vanguardia (first criticism of Picasso).
Summer holidays in Málaga. Second trip to Madrid in October. Passed brilliantly the entrance examination to the Royal Academy of San Fernando. His picture Science and Charity wins honorable mention at the National Art Exhibition at Madrid. Paints: The Invalid and Tavern Interior.
1898. In spring has scarlet fever and ceases to attend the Academy. Returns to Barcelona in June; afterwards prolonged convalescence in Horta de Ebro (sometimes called Horta de San Juan) at the house of his friend Pallarés.
1899. Returns to Barcelona in April. Studio in the Calle de Escudillers Blanchs. Meets Jaime Sabartès who becomes his friend.
Paints: Theater del Paralelo; Artists' Cabaret, Barcelona. First sculpture: Seated Woman (K 1). First etching: The Left-Handed Man (El Zurdo). (G 1).
1900. Picasso's drawings and illustrations appear in the weekly Joventut. This journal was strongly influenced by Jugendstil and published translations of works by Ibsen, Maeterlinck, Ruskin, Tolstoi, articles on Nietzsche and Schopenhauer, a special number devoted to the Jugendstil painter Heinrich Vogeler, and reproduced works by Burne - Jones, Beardsley, Boecklin, etc.
Wagner's music is acclaimed in Barcelona. Gaudi creates the Park Güell. The Art nouveau morement is triumphant.
In October, first trip to Paris with his friend Carlos Casagemas. The artist Isidre Nonell lets Picasso have his studio at 49, Rue Gabrielle. Sells three sketches to the art dealer, Berthe Weill. Returns to Barcelona on December 24. Paints a number of canvases representing scenes of cabarets.
1901. Third trip to Madrid in mid- January. Publishes Arte Joven in association with the author Francisco de Asis Soler. This journal becomes a forum for young writers and artists. Unamuno and Azorin are among the contributors, and Picasso includes reproductions of many of his own works. After five issues the journal suspends publication for want of funds. Returns to Barcelona in May. An exhibition of pastels in the Salon Parès receives an enthusiastic criticism by Miguel Utrillo in the journal Pel y Ploma.
Second trip to Paris at the end of May. Lives at a studio 130ter, Boulevard de Clichy. On June 24 he has his first exhibition in Paris jointly with Iturrino at the Galerie Ambroise Vollard, 6, Rue Laffitte. He gets an enthusiastic write-up by Félicien Fagus in the Revue Blanche. The critic traces the influence of Delacroix, Degas, Van Gogh, Manet, Monet, Pissarro, and Toulouse-Lautrec and continues: "His capacity for enthusiasm has left him no time to develop a style of his own. His personality rests precisely in this enthusiasm and in his youthful impetuous spontaneity (it is said that he is hardly twenty years old and paints up to three pictures a day)..." Max Jacob visits the exhibition and becomes Picasso's lifelong friend and admirer. From now on he signs his pictures "Picasso" (previously his signature had been "Pablo Ruiz Picasso" or "Pablo R. Picasso"). His first circle of friends included painters, sculptors, and authors such as Ricardo Canals, Paco Durio, Pablo Gargallo, Julio Gonzalez, Max Jacob, Isidre Nonell, Jaime Sabartès, and Joaquin Sunyer. Towards the end of the year he paints the first pictures of the so-called Blue Period.
1902. In January returns to Barcelona. In April, his second Paris exhibition arranged by Berthe Weill; preface to the catalogue by Adrien Farge. Back to Paris in October. Lives first at the Hôtel des Ecoles in the Rue Champollion, later in the Hôtel du Maroc in the Rue de Seine, and finally, with Max Jacob, at the Boulevard Voltaire. His themes are scenes from the lives of the hungry and poor, of prostitutes and beggars. He himself is at times so poor that he has to burn his drawings and pastels to keep warm.
1903. Paints in Barcelona.
1904. Returns to Paris in the spring and settles there permanently. Rents a studio at 13, Rue Ravignan (now 13, Place Emile Goudeau), the legendary Bateau-lavoir, where until October 1909 his art and personality develop dramatically. It is there that his friends gather for conversation and to read their works. Fernande Olivier, la belle Fernande, becomes his friend. Other visitors are Alfred Jarry. Kees van Dongen, Maurice Raynal, Max Jacob, André Salmon, and later, André Derain, Henri Matisse, Georges Braque, the Douanier Rousseau, Guillaume Apollinaire, Marie
Laurencin, and Leo and Gertrude Stein; art dealers such as Wilhelm Uhde and Daniel Henry Kahnweiler and others come to see him. Completes etching: The Frugal Repast.
1905. Jean Mollé, publisher of Le festin d'Esope, introduces Picasso to Guillaume Apollinaire who publishes an article on him in La Plume and soon becomes his intimate friend. Becomes absorbed in the life and spirit of the circus with its acrobats, harlequins, jugglers, and rope-walkers, and depicts them in sympathetic paintings. Some of these are bought by an upholsterer of the Rue des Martyrs, Père Soulier, and by Clovis Sagot. Wilhelm Uhde acquires the painting The Tub for ten francs and seeks out the artist. The Russian Shchukin and the two Steins make their first purchases of Picasso's work. In summer he goes to Holland.
Produces a series of etchings called The Saltimbanques (G 3-7, 9-18) which Vollard offers for sale in an edition of 279 copies.
1906. At the height of his artistic powers. Through the works of his Blue and Rose Periods he has developed his own unique style. Dealers and collectors are interested in his work and success is near. However he is not satisfied with what he has already accomplished. Compassion and the pathos of the human condition tend to become superficial in his work, threatening to become mere sentimentality. He must choose between easy success and making a fresh start. His artistic temperament and his whole being drive him to experimentation. Ruling out literary associations, he wants to penetrate deeply into the nature of things and to deal with them in purely pictorial and plastic terms. Primarily he paints nudes and portraits in monochrome, concentrating on the volumes and structure of the body. D. H. Kahnweiler calls these pictures "painted sculptures."
Picasso works at Gosol, in northern Spain, during the summer. Juan Gris comes to Paris and rents a studio in the Bateau-lavoir. Towards the end of the year. Picasso discovers Iberian sculpture in the Louvre. Meets Matisse. Makes first sketches for Les Demoiselles d'Avignon (The Girls of Avignon). 1907. In the first part of the year paints a large and strange canvas based on memories of a brothel in the Rue d'Avignon, Barcelona. André Salmon later names it Les Demoiselles d'Avignon. It is the most important work of his pre-Cubist period, already showing signs of Cubist devices especially in the figures at the right and in the still life.
Picasso discovers African Negro art and paints a series of canvases under its influence. Strongly contrasted color planes produce a heightened sculptural quality. Shrill color and bold distortion add to the visual expressiveness.
Daniel Henry Kahnweiler visits Picasso in his study at the Bateau-lavoir, opens a gallery at 28, Rue Vignon in April. There Picasso meets Braque and Derain.
Paul Cézanne's memorial exhibition, with 56 of his works, is held at the Salon d'Automne.
Picasso produces three sculptures in wood which reveal the influence of Iberian and African sculpture in their reduction of forms to basic elements.
Gives a banquet in his own studio in honor of the Douanier Rousseau. In summer he paints landscapes and still lifes in "Ville des Bois" near Amiens. Returns to monochrome tonalities and continues to emphasize sculptural effects in painting. Braque, painting at L'Estaque near Marseilles, arrives independently at the same technique, using as his themes commonplace objects like bottles, glasses, fruitbowls, or tables, rediscovering and revealing afresh their beauty in a series of still lifes. Musical instruments also become an important theme in these Cubist compositions. Five of these paintings by Braque are refused at the Salon d'Automne.
Matisse, a member of the jury, is thought to have referred to one of them as "petits cubes." Thereupon Braque withdraws all his paintings and exhibits them instead at the Galerie Kahnweiler in the Rue Vignon, Apollinaire writing the foreword to the catalogue. The art critic. Louis Vauxcelles, in Gil Blas (November 14) reproached Braque for reducing everything in his paintings to geometrical forms, a pattern of cubes. ("Braque méprise la forme, réduit tout, sites, figures et maisons, à des schémas géométriques, à des cubes.") A close and intimate friendship springs up in the winter of that year between Braque and Picasso which continues until the outbreak of World War I.
1909. Paints nudes and still lifes in a stark, geometrical manner culminating in the severe formalism of the Cubist landscapes of Horta de Ebro where his summer was spent.
Braque exhibits in the Salon des lndépendents and again Vauxcelles refers in his criticism of these paintings to "bizarreries cubiste." The term "Cubism," originally coined in a derogatory sense, is now universally accepted.
In October he moves from the Bateau-lavoir to 11. Boulevard de Clichy.
Participates in the first exhibition of the Neue Künstlervereinigung in Munich (Thannhauser Gallery).
Etchings: Two Nudes and Still Life with Fruitbowl (G 20, 22).
1910. Progresses from Cubism "in the manner of Cézanne" to Analytical Cubism in which the component elements of objects are broken up still further into geometric forms, which are then re-organized into a kind of rhythmic counterpoint, in a range of infinitely subtle colors. The aims at achieving a simultaneous vision of the object -- front and back, above and below -- in fact, a threedimensional construction on a two-dimensional surface, through the manipulation of his paint, without taking recourse to devices such as perspective. Little by little succeeds in his goal; he even succeeds in introducing a fourth dimension, time, into his composition.
Meets Léger in the Galerie Kahnweiler. Spends the summer painting with Derain in Cadaqués ( Spain). Paints portraits of Braque, Vollard, Kahnweiler, and William Uhde.
Illustrates Saint Matorel by Max Jacob, published 1911 by Kahnweiler. Participates in the second exhibition held by the Neue Künstlervereinigung, Munich, in the Thannhauser Gallery.
First definitely Cubist sculpture: Head of a Woman.
Etchings: Illustrations for Saint Malorel (G 23-28)
1911. Introduces letters and words into his compositions as familiar and recognizable elements -which Braque had done for the first time in a still life of 1910.
Spends the summer with Braque, Gris, and Manolo at Céret in the French Pyrenees. Has his first show in America, at Alfred Stieglitz's Photo-Secession Gallery, in New York.
Etching: The Table with the Scroll (G 29).
1912. The first publication on Cubism appears: Gleizes' and Metzinger's Du cubisme. Meets Italian Futurists. Introduces sand and imitation wood-grain paper as structural and decorative elements into his pictures. First experiments with collage, consisting of pasted paper shapes in combination with drawing or painting. Moves to 242, Boulevard Raspail.
Participates in the second exhibition (engravings) of Der Blaue Reiter at the Goltz Gallery, Munich, with four drawings and the illustrations to Saint Matorel. Given a room to himself at the international exhibition of the Sonderbund at Cologne, where he shows 16 works dating from 1903-11.
Spends the summer with Braque painting at Sorgues, France.
Etchings: Still Life with Bunch of Keys, The Guitar Player, Head of a Man, Still Life with Bottle, The Laundry.
In the works of the years 1909-11, the object, more and more decomposed into geometric forms, becomes increasingly abstract, thus losing recognizability (Analytical Cubism), but in the compositions dating from the year 1912 (Synthetic Cubism), they are "reconstructed," and recognizability returns.
1913. Moves to 5bis Rue Schoelcher. First "construction" in relief, in wood (with the word BASS) (K 9). The Russian Constructivist Tatlin visits Picasso. Takes part in the now celebrated Armory Show in New York. Exhibitions at the Thannhauser Gallery in Munich and at the Secession in Berlin. Vollard publishes the series of etchings The Saltimbanques; Apollinaire publishes his book Les peintres cubistes. Spends the summer with Braque, Gris, Max Jacob, and Manolo, at Céret, in the Pyranees, the "Barbizon of Cubism."
1914. Paints Cubist pictures with flat, pure color. Spends the summer in Avignon, but returns to Paris at the outbreak of war. His friends, Braque, Raynal, Salmon, and others are called up. Apollinaire volunteers.
Makes constructions in relief, from different materials. Makes painted bronze sculpture: Glass of Absinthe (K 12).
Illustrates Le siège de Jérusalem by Max Jacob(G 35-37), published by Kahnweiler. More etchings: Apples, Man with Dog. Cliché Kahnweiler, Nude Woman in an Armchair (G 38 to 41).
1915. First drawings in the style of Ingres: portraits of Vollard and Max Jacob. More Cubist paintings.
Moves again, this time to 22, Rue Victor Hugo, at Montrouge near Paris.
Etchings: Man in a Hat, Still Life with Guitar and Clarinet, The Lady with the Hat, Man with Pipe, Still Life with Guitar, Cithara, Tambourine, and Sheets of Music, Man Seated at Table I-IV, Man with Guitar (G 42-51).
1916. Portrait of Guillaume Apollinaire who returns from the war severely wounded and is operated on at Auteuil. Etchings: Head of a Woman, Woman with Fichu.
1917. Accompanies Jean Cocteau to Rome where he designs for Serge Diaghilev's Ballets russes: curtain, scenery, and costumes for Parade (music by Erik Satie, book by Jean Cocteau, choreography by Léonide Massine). Meets Igor Stravinsky. Visits Pompeii, Naples, Florence. Drawings of Diaghilev and Selisburg in the style of Ingres. Apollinaire uses the term Surrealism for the first time in the program notes for the opening performance at the Théâtre du Châtelet, Paris, May 18. Spends his summer in Barcelona and Madrid. Etchings: Harlequin (G 54). Illustrations for the de luxe edition of Le cornet à dés by Max Jacob.
1918. Marries the Russian ballerina, Olga Koklova. Moves to 23, Rue de la Boëtie. Spends the summer at Biarritz and there does realistic beach scenes with figures that are twisted and elongated, but continues at the same time to work in his Cubist manner. Kahnweiler has to close down his gallery and leave Paris as an enemy alien, and Paul Rosenberg becomes Picasso's dealer. Etchings: Pierrot (G 55), published as a frontispiece to the limited edition of Le phanérogame, by Max Jacob.
1919. Does curtain, scenery, and costumes for Le tricorne (The Three-Cornered Hat) (music by Manuel de Falla, book by Martinez Sierra, choreography by Léonide Massine). Goes to London for the premiere at the Alhambra Theater, July 22. Summer at Saint-Raphaël. Meets Joan Miro in Paris. André Salmon Le manuscrit trouvé dans un chapeau (The Manuscript Discovered in a Hat) appears with reproductions of drawings from Picasso Blue and Rose Periods. Exhibition of drawings and water colors at Galerie Paul Rosenberg. Etchings: L'Italienne, Portrait of Mme. Picasso I (G 56, 57). First lithographs: The Window at Saint-Raphaël and Woman Seated before a Window (C 221, 222).
1920. Neo-Classic Period. Designs curtains, scenery, and costumes for Pulcinella (music by Igor Stravinsky , choreography by Léonide Massine) for the Ballets russes. First performance at the Paris Opera, May 15. Summer at Juan les Pins. Paints massive female nudes in a Classic style.
Etching: Seated Woman I, II (G 58, 59). Lithographs: Portraits of the poet Radiguet and three portraits of Paul Valéry (of which one appeared as frontispiece to the latter's La jeune parque), and Three Horses on the Seashore (G 223-227).
1921. Sets and costumes for Cuadro flamenco (music by Manuel de Falla, choreography by Léonide Massine ) for the Ballets russes. First performance on May 22 in Théâtre de la Gaieté Lyrique. Spends summer at Fontainebleau where he paints the two versions of his famous Cubist picture Three Musicians, along with massive female nudes in the Classic style. Maurice Raynal publishes The first book on Picasso. Birth of his son Paul. Etchings: Bull Attacking a Horse, The Source, Portrait of Max Jacob (G 60-62). The Galerie Simon ( D. H. Kahnweiler) publishes Quatre lithographies, showing bathing scenes in the Classic style.
1922. Spends the summer at Dinard. Paints the gouache The Race. Two years later he uses this subject again for the curtain to Le train bleu (The Blue Train) by Jean Cocteau, which he does for the Ballets russes. Stage sets and masks for Antigone by Jean Cocteau; first performance December 20 at the Théâtre de l'Atelier, Paris. Three illustrations (etchings) to Cravates de chanvre by Pierre Reverdy (G 63-65), also etchings G 66-77 and 78-108 ( 1922-23).
1923. Paints the series of Classic harlequins. Summer at Cap d'Antibes. Meets André Breton. Etchings: Portrait of Mme. Picasso II and Portrait of André Breton (published as frontispiece to his book Clair de terre (G 109, 110). Lithographs: Two Women Lying on the Dunes, The Wreath of Flowers, The Coiffure, La Toilette, Woman and Child (G 232-236).
1924. End of the Neo-Classic period. Scenery and costumes for Mercure by Etienne de Beaumont (music by Erik Satie, choreography by Léonide Massine); and curtain to Le train bleu (The Blue Train) by Jean Cocteau (music by Darius Milhaud, scenery by Henri Laurens) for the Ballets russes. First performance in the Théâtre des Champs Elysées, Paris, June 20. Summer at Juan les Pins. Paints Cubist still lifes. Lithographs: Woman on the Seashore, Reclining Woman, Seated Woman (G 237-239).
1925. Paints Three Dancers. Takes part in the first exhibition of Surrealist paintings at the Galerie Pierre, Paris, together with Arp, Chirico, Ernst, Klee, Man Ray, and Miro. Paints realistic, posed portraits of his son Paul. Spends spring at Monte Carlo, summer at Juan les Pins. Etchings: Two Dancers, The Couple, The Artist's Son, The Lovers, The Lovers in the Grass (G 112 to 116). Lithograph: Head of a Woman for the de luxe edition of Waldemar George Picasso, dessins, published in 1926.
1926. Stays at Juan les Pins. Completes the series of calligraphic drawings which, a few years later, are cut in wood and included among the illustrations for Balzae Le chef-d'œuvre inconnu. Lithographs: Interior, Reading (G 241-242).
1927. Summer at Cannes. Etchings: The Three Friends, Man and Woman. Nude Model, Clothed Model, The Studio, Figures (G 117-122) and the illustrations to Le chef-d'œuvre inconnu by Balzac for Ambroise Vollard, published 1931 (G 123-135).
1928. Summer at Dinard. Dinard period. Paints a number of bathing scenes and designs for a monument. Lithographs: Face, Head of a Young Girl, Figure in Profile (G 243-245).
1929. Summer at Dinard. Period of metamorphoses and monsters. Together with the sculptor Julio Gonzalez produces a number of sculptures and constructions in iron. Lithograph: Figure (G 246).
1930. Summer at Juan les Pins. Paints: Crucifixion. Begins the series of illustrations to the Metamorphoses of Ovid (30 etchings) for Albert Skira (G 143-172). In addition completes etchings G 192-201, and the lithograph The Painter and His Model (G 247).
1931. Summer in Juan-les-Pins. Skira publishes Ovid Metamorphoses, Vollard Le chef-d'œuvre inconnu by Balzac. Etchings: (G 202-210).
1932. Buys the estate of Boisgeloup near Gisors where he devotes himself chiefly to sculpture. Christian Zervos begins the compilation of a catalogue of Picasso's work, now in its seventh volume. Important retrospective exhibitions at the Galeries Georges Petit in Paris and at the Kunsthaus in Zurich. Paints the series: Sleeping Women.
1933. The first volume of Bernhard Geiser Picasso: peintre-graveur, a catalogue raisonné of his graphic work, appears. Travels in Spain: does numerous etchings with bullfighting subjects; starts work on the "Sculptor" series and the Minotaur legend which is taken over by Vollard. In the series The Bathing Women he combines engraving and collage.
1934. Travels in Spain. Bullfighting scenes. Illustrations for Aristophanes' Lysistrata. Numerous etchings of bullfights, sculptors, the Rembrandt series, Minotaurs, and others, again taken over by Vollard.
1935. Boisgeloup. Writes a number of poems which appear in a special number of the journal Cahiers d'Art: Picasso 1930-35 with commentaries by André Breton and Jaime Sabartès. The latter becomes his secretary. Completes the Minotauromachy, one of his most important etchings.
1936. Stays at Juan les Pins, Mougins, Le Tremblay. Traveling exhibitions in Spain: Barcelona, Bilbao, Madrid. Outbreak of the Spanish Civil War. Picasso embraces the cause of the Republicans who appoint him Director of The Prado. In this capacity he tries to preserve the art treasures of Spain. Illustrates La barre d'appui and Les yeux fertiles by Eluard (etchings).
1937. Bombing of the Basque town of Guernica by German planes in the service of Franco inspires Picasso to paint the gigantic and powerful fresco Guernica for the Spanish Pavilion at the World's Fair in Paris.
Writes and illustrates with etching and aquatint The Dream and Lie of Franco (Sueño y mentira di Franco). Illustrations for Buffon Histoire naturelle (31 aquatints), published 1942. Four portraits of Vollard (etchings).
1938. Acquires studio at 7, Rue des Grands-Augustins. Produces a series of psychologically intense, "double-faced" female heads. Aquatint: Dancer with Tambourine. Summer at Mougins.
1939. Exhibition at Galerie Rosenberg. Series of colored etchings of "double-faced" female heads. Summer at Antibes. At the outbreak of war in September he moves to Royan, near Bordeaux. Large exhibition at The Museum of Modern Art, New York: Picasso: Forty Years of His Art.
1940. After the German occupation of the whole of France Picasso returns to Paris. His refusal to collaborate with the Nazis becomes the symbol of the Resistance. Illustrates Afat by Iliazd (6 etchings).
1941. In January, he writes the play: Le désir attrapé par la queue (Desire Caught by the Tail). English translation by Bernard Frechtman, London: Rider & Co.
1942. Buffon Histoire naturelle, commissioned by Vollard, published by Fabiani, Paris. Illustrates Non-vouloir by Georges Hugnet (4 engravings).
1943. Illustrates Le chèvrefeuille by Georges Hugnet (6 engravings).
1944. The liberation of Paris inspires Picasso to paint Bacchanal after a painting by Poussin. Shows 80 works - paintings and sculptures - in the Salon d'Automne. Anti-Picasso demonstrations at the exhibition. Picasso joins the Communist Party. Sculpture: Shepherd with Lamb (K 193). Illustrates Contrée by Robert Desnos.
1945. Curtain for the ballet Le rendez-vous (text by Prévert, music by Kosma). First performance in the spring at the Théâtre des Champs-Elysées, Paris. Moves to the Côte d'Azur, first to Antibes, then to Vallauris. Takes up lithography again in November (M 1-28). Up to this time he had done around 300 lithographs. First lithographs in color.
1946. Summer at Golfe Juan. With the Ramié couple at Vallauris, begins to work with ceramics. Discovers new technical and artistic possibilities in this ancient art and brings to it a new impetus. Makes a great many important works for the Musée Grimaldi at Antibes. Beginning of the period of fauns and nymphs. The Museum of Modern Art, New York, publishes Alfred H. Barr authoritative work: Picasso: Fifty Years of His Art which includes the most comprehensive bibliography yet to appear about the artist. Works on the illustrations (lithographs) to Le chant des morts by Pierre Reverdy (published 1948). Lithographs M 29-52, among them the Françoise series.
1947. First exhibition of his pottery at the Maison de la Pensée française, Paris. Attends the Congress of the Intelligentsia for Peace at Wroclaw, Poland. Lithographs after Cranach painting David and Bathsheba. Also lithographs M 43 to 108. Etchings to Dos contes and Deux contes by Ramon Reventos (four for each).
1948. First poster for the pottery exhibition at Vallauris. Three illustrated books appear in that year: Vingt poèmes by Gongora with 41 etchings, Le chant des moris by Reverdy with 124 lithographs and Escrito by Iliazd with 6 etchings. Also the lithographs M 109-140.
1949. Daniel Henry Kahnweiler publishes his book Les sculptures de Picasso. Alain Resnais and Paul Eluard produce the film Guernica inspired by Picasso work. Journey to Italy, visiting Rome and Florence. Poster with the famous dove for the Congress of the Partisans of Peace in Paris. Mourlot publishes the first volume of his catalogue Picasso lithographe 1919-47; the second volume, comprising the lithographs of the years 1947-49, appeared the following year. Illustrations to Carmen by Mérimée, 42 prints (aquatints and burin engravings), Elégie d'Iphétonga by Ivan Goll with 4 lithographs. Exhibition at the Maison de la Pensée française, Paris. Produces the lithographs M 141-179 among them the series Woman in an Armchair.
1950. He presents his sculpture Shepherd with Lamb to the township of Vallauris, which erects it in the market square; is made honorary citizen. Exhibits at the Biennale in Venice. Illustrates Corps perdu by Aimé Césaire with 31 engravings and De mémoire d'homme by Tristan Tzara with 9 lithographs.
1951. Sculptures: Pregnant Woman, The Goat. Exhibits the painting Massacre in Korea at the Salon de Mai in Paris. Lithographs of a series of medieval page-boys.
1952. Paints the huge frescoes War and Peace for an unused chapel at Vallauris. Exhibits The Goat at the Salon de Mai. Traveling exhibition of his lithographs and engravings in Basel, Berlin, Hamburg, Essen, Munich, Nuremberg. Illustrates La maigre by De Monlue (10 plates in dry point). Acquatints: Girl at a Window, The Hen, Skull of a Goat, Picador, and the Balzac portraits in lithography.
1953. Important exhibitions at Rome, Milan, and Lyons. Illustrates Six contes fantasques by Toesca (burin engravings).
1954. Comprehensive exhibition at the Biennale in São Paulo, Brazil. One of the most important Picasso exhibitions is organized by the Maison de la Pensée française in Paris. One could see, for the first time in western Europe, early works from museums in Leningrad and Moscow and also works from Paris private collections. Exhibition closes after only two weeks. Large comprehensive exhibition of his graphic work at the Kunsthaus, Zurich, part of which is later shown at The Hague. Towards the end of the year, exhibition of graphic work at the Musée Rath, Geneva.
Tags
Pablo Picasso, Cubism, Pablo Picasso Biography, Picasso Paintings, Picasso Drawings, The Blue Nude, Don Quixote, Enamel Saucepan, Evening Flowers, Femme A La Fleur, Les Demoiselles d'Avignon, Spanish Art, The Dream, The Pigeons, Guernica, Musse, Bull with Bullfighter, Mediterranean Landscape, Nude and Still Life, Toros y Toreros, Mother and Child, Girl with Red Beret, Frau Mit Turban, The Bathers, The Lesson, The Old Guitarist, Three Bathers, Violin and Guitar, Lovers, Evening Flowers, The Kitchen
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