Still Life

Portrait

Animals

Family

Paintings

Engravings

Ceramics

Drawings

Sculptures

A selection of artworks from the collection of the Museo Picasso Málaga and the [Fundación Almine y Bernard Ruiz-Picasso](https://www.fabarte.org/en/).

Explore the Collection

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Among his many publications, are *Making Modernism: Picasso and the Creation of a Market for Twentieth-Century Art* (1995) and *Picasso: The Artist’s Studio* (2001). His exhibitions include *Picasso and American Art* (Whitney Museum of American Art, 2006), *Post-Picasso: Contemporary Responses* (Museu Picasso Barcelona, 2014), and *Face to Face: Picasso and Old Masters* (Museo de Bellas Artes, Seville, and Museo Picasso Málaga, 2021-22).  He received his undergraduate degree from Stanford University and his PhD and MBA from Columbia University. He is Kluger Family Professor of Art History at Trinity College (Hartford, USA) and Director of Research at the Fundación Almine y Bernard Ruiz-Picasso. 

Foto: Ciro Frank Schiappa 

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Curatorship: Michael Fitzgerald

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Lola con muñeca - ENG.mp3

Barcelona, c. 1896 

Lola with a Doll (The Artist’s Sister) 

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Cabeza de mujer (Fernande)  - ENG.mp3

Paris, 1906

Head of a Woman (Fernande) 

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Partitura musical y guitarra - ENG.mp3

Paris, April 19, 1921 

Sheet Music and Guitar 

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Hombre mirando una mujer dormida - ENG.mp3

Dinard, summer 1922 

Man Looking at a Sleeping Woman

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Maternidad - ENG.mp3

Paris, autumn 1923 

Maternity

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Paris, spring 1923 

The Three Graces 

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0010 (Cabeza con casco) - ENG.mp3

Head of a Warrior   Boisgeloup, 1933 

Head of a Warrior 

Paris, February 21, 1947 

Rooster and Knife on a Table

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Plat espagnol decorado con una cabeza de toro  - ENG.mp3

Cannes, March, 27 and April 7, 1957 

Plat Espagnol Decorated with a Head of a Bull 

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In collaboration with

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Unity of a Life’s Work 

Pablo Picasso: Structures of Invention 

Rooster and Knife on a Table 

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Head

Much has been written about Picasso’s travels around Italy in 1917. The artist’s contact with the material culture of the civilisation of Ancient Rome has been traced in many works produced between 1917 and 1925.  

‘As is almost always the case with Picasso, his art of the early 1920’s is related in a complex way to both past and present. He was directly inspired by the painting and sculptur of ancient Rome; his style proves his affiliation in the tradition which runs from Masaccio through Raphael and Poussin to Ingres, and at the same time his painting shows an awareness of what was being done in the very same years by a great painter two generations older than himself, and a sculptor a few years his senior’  

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‘*Man Watching his Sleeping Female Companion* [*Man Looking at a Sleeping Woman*] is a small work—done in pencil and oil on the lid of a cigar box—probably executed during summer 1922 at Dinard. The stylistic language is characteristic of Picasso’s “neoclassical” period, when, constantly referring to art history, he turned more openly towards the models of antiquity. The picture also reflects Picasso’s interest at this time in nineteenth-century painting, itself imbued with the ideals of antiquity. 

The subtle balance of the composition, the approach to drawing and the idealization of the nudes are evocative of, for example, Ingres—a reference frequently mentioned by contemporary critics to describe Picasso’s new way of painting. In fact, the sensual pose of the sleeping young woman, her head resting on the curve of her raised arm, explicitly echoes the French master’s Bathers and Odalisques, which were themselves inspired by Giorgione’s figures of [*Venus*](https://skd-online-collection.skd.museum/Details/Index/294844). In the same vein, Rosenblum drew the comparison between Picasso’s male figure and that of Augustus in [*Virgil reading the Aeneid to Augustus, Octavia and Livia*](https://fine-arts-museum.be/fr/la-collection/jean-auguste-dominique-ingres-auguste-ecoutant-la-lecture-de-l-eneide) (1819; Brussels, Musées Royaux). Picasso probably saw this painting at the Salon d’Automne of 1905, and again in 1921, at the great Ingres retrospective in Paris. 

The importance of drawing for painting was established by the first Academies, and up to the end of the nineteenth century painters would often draw their subjects naked before “clothing” them with Paint and smoothing out all the visible signs of preparatory work to complete the picture. This is a method Picasso inverted, cleverly setting the abstract power of the line against the smooth flatness of the red ground and the illusionistic contours of his male nude. In other ways, the underlying lines and the partial use of oil recall certain pictures by Jacques-Louis David, which, unlike Picasso’s works, would have been considered unfinished in the academic context of the late eighteenth century. One example is [*Bonaparte*](https://collections.louvre.fr/ark:/53355/cl010066398) (1797-1798; Paris, Musée du Louvre), shown in Paris in 1913, another, the monumental [*Tennis Court Oath*](https://collections.louvre.fr/ark:/53355/cl020114798), in which the pencil lines are incomplete and only a nude, four faces and a few hands have been painted in oil. Research has not so far been able to establish categorically that Picasso saw the work before 1921, but the idea cannot be rejected, considering the interest he later showed in The [*Death of Marat*](https://fine-arts-museum.be/fr/la-collection/jacques-louis-david-marat-assassine) (1793; Brussels, Musées Royaux) and [*The Sabines*](https://collections.louvre.fr/ark:/53355/cl010065426) (1796-1799; Musée du Louvre, París), two of David’s masterpieces that Picasso was to reinterpret in 1931 and 1962-3 respectively ([*Rape of the Sabine women [after David]*](https://www.centrepompidou.fr/es/ressources/oeuvre/cR54pXk), Mougins, 4, 5 and 8 December 1962. Musée national d’art moderne, Centre Georges Pompidou, París). […]’. 
 
 
Text: Cécile Godefroy in GODEFROY, Cécile y Marilyn McCully (dirs.). *Pablo Picasso: 43 Works*. [Cat. Exp.: Museo Picasso Málaga, 2010]. Malaga: Museo Picasso Málaga, 2010, p. 66-71.

Man Looking at a Sleeping Woman 

Picasso spent the summers of 1928 and 1929 in Dinard, Bretagne. It was there that he took a photograph of Marie-Thérèse Walter holding a beach ball which has been interpreted as a source of inspiration for many of his works depicting these summer scenes. The artist carried on producing these pieces for several years in different supports such as sculpture and graphic media. 

‘It was a retreat from the places where he could be too easily interrupted by his increasingly numerous Friends. […]. In addition to pen and ink drawings which were more elegant versions of the anthropomorphic forms of the previous summer, the pictures he painted were mostly scenes of bathers tossing a ball. Again the liberties taken with the human frame were extraordinary’.  

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‘Subjects from Picasso’s two summers at Dinard in 1928 and 1929 resurface in these three etchings [*The Beach*, [*The Bath*](https://www.museopicassomalaga.org/en/coleccion/the-bath) and [*The Rescue*](https://www.museopicassomalaga.org/en/coleccion/the-rescue)]. These summers resulted in numerous series of biomorphic bathers thought to have been inspired by Picasso’s muse and mistress Marie-Thérèse Walter (1909-1977). Conceived in the winter months of 1932, the present works re-explore the lively outdoor activities of swimming, sunbathing, and game playing associated with the sea and the beach. Each of the three prints depicts a woman with outstretched arms who reaches for a beach ball, swings a rope, dives, or aids a disabled swimmer. Two of the works date from November 1932; the third, from December. 

Several women in the etchings of swimmers are modeled after Marie-Thérèse, who was known to be an avid swimmer. In both the etching of the diving woman as well as the one depicting a rescue, numerous bathers possess the unique profile and curvaceous body associated with her. The third print, composed of stippled figures playing ball or perhaps jumping rope, repeats the Surrealist influence typical in the 1928 Dinard works when she had secretly accompanied Picasso on his family vacation; it retains the spirit of similar playful scenes of women on the beach. Although the linear and biomorphic bodies of these bathers do not specifically relate to Marie-Thérèse, the seaside setting does. [A painting from November 1932](https://www.sothebys.com/en/auctions/ecatalogue/2014/impressionist-modern-art-evening-sale-n09139/lot.24.html), catalogued by Christian Zervos, combines the diverse activities of the tree etchings into a single work (Z.VIII.64). 

Various beach scenes from 1932, such as painting from the artist’s estate, elicit a spirited mixture of joy and playfulness. They thrive on physical movement and contact. The women play, dive, or swim to aid someone in distress. There is something psychologically dichotomous about these works. From image to image, they shift between the extremes of frivolity and tragedy that co-exist in Picasso’s other versions of these scenes. 

The swimmer’s rescue is a frightening addition to a suite of pleasant beach and summer scenes. The drowning was also the subject of a [December 1932 painting](https://www.fondationbeyeler.ch/fr/collection/oeuvre?tx_wmdbbasefbey_pi5%5Bartwork%5D=219&cHash=bda37abbea918a39799c467313aed352) (Z.VIII.66) and repeated in graphics ([Geiser/]Baer 273-274) the day following the present example. Is this Picasso’s constant reminder of danger? Or is this simply the violent confrontation of earlier works, perhaps best exemplified by the fighting couple in the 1931 painting [*Figures Beside the Sea*](https://cep.museepicassoparis.fr/explorer/figures-au-bord-de-la-mer-mp131) (MP131), exchanged for a scene of helplessness or distress? The aggression is gone, transformed into a “melodramatic-tragic” scene in which, instead of combating one another, humans try to save one another. Pierre Daix has suggested the situation was derived from a real event. According to Brigitte Baer, Picasso transposed a river incident and an ensuing sickness incurred by Marie-Thérèse into these drowning scenes. 

The compositions for all three etchings [*The Beach*, [*The Bath*](https://www.museopicassomalaga.org/en/coleccion/the-bath) and [*The Rescue*](https://www.museopicassomalaga.org/en/coleccion/the-rescue)] were drawn in 1932. The prints were pulled in 1961 for the Galerie Louise Leiris by the printer Jacques Frélaut, who was the successor of Roger Lacourière’s well-known Montmartre printing studio’. 
 
 
Text: GIMÉNEZ, Carmen (ed). *Museo Picasso Málaga Collection*. Malaga: Museo Picasso Málaga, 2003, pp. 445-450.

The Beach

Javier Cuevas

#4 - Dialogues with Picasso - Javier Cuevas.mp4

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In the south of France, Picasso becomes fascinated with the local pottery tradition. Like the artists of the contemporary School of Altamira, he looked back to the prehistoric cave painters who used earth, bone and fire to create art. Other paintings recorded the houses and landscapes that cradled his late work. 

‘Ceramics works like printmaking. The firing is the printing. At that precise moment you realise what you have done. When you receive the proof print, you are no longer the same person who etched the plate. You have changed. You have to go back to the printing plate. But with ceramics, there is no going back.’

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Picasso began his activity in the age-old medium of ceramics at the Madoura factory in Vallauris, the ancient pottery centre where he and Françoise Gilot acquired a villa in 1949. He was attracted to the place, with its old buildings and traditional wood-fired kilns, and to the opportunities and facilities that the owners, Suzanne and Georges Ramié, offered him at their factory. Working alongside the craftsmen, he undertook a variety of ceramic experiments, utilising the plates and jugs that were in regular production, as well as realising some of his own designs with the master thrower Jules Agard. Beginning in 1950 he also collaborated closely with Suzanne Ramié on the shapes that she designed. She was particularly interested in researching ancient or traditional pots, which she then recreated, often on a larger scale than the original sources, for modern decoration. The pot-bellied vessel with six handles (three on either side) and a lid, which is the inspiration for Insect, is known in Provence as a gus, and its purpose was for storing vinegar or water. A rope would be looped through the handles, so that the vessel could be hung on the wall. 

Picasso had a knack for seeing the potential for transformation in ceramic shapes, and, in the case of this *Insect*, he had the idea of turning the whole vessel into a creature by painting the lid as a head with eyes, the handles as arms with little hands extending onto the main body of the pot, while legs are painted at the bottom. Similar features are depicted on either side of the pot, so that the creature actually has eight legs in all. Picasso chose straightforward techniques of decoration, including painting blue slip directly on the white earthenware pot and incising some of the decorative motifs through the blue to reveal the white beneath. 

Text: Marilyn McCully, ‘Insect’, in *Museo Picasso Málaga Collection*, Málaga, Museo Picasso Málaga, 2010, p. 42.

Insect

In November and December 1932 Picasso produced a group of prints as a continuation in the graphic medium of a series of painted scenes of bathers, female figures on the beach or playing, which he had been working on since his first stay in Dinard in the summer of 1928. 

‘[…]. Water, at this moment and in the whole of the series, is a sensual element that adds to the objective description, which hides the subjective viewpoint slightly more, just as it tells us – and at the same time conceals – that Picasso preferred to be at the seaside than in Boisgeloup or Paris, where he produced nearly all the works that refer to rescues’.   

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‘Subjects from Picasso’s two summers at Dinard in 1928 and 1929 resurface in these three etchings [[*The Beach*](https://www.museopicassomalaga.org/en/coleccion/the-beach), *The Bath* and [*The Rescue*](https://www.museopicassomalaga.org/en/coleccion/the-rescue)]. These summers resulted in numerous series of biomorphic bathers thought to have been inspired by Picasso’s muse and mistress Marie-Thérèse Walter (1909-1977). Conceived in the winter months of 1932, the present works re-explore the lively outdoor activities of swimming, sunbathing, and game playing associated with the sea and the beach. Each of the three prints depicts a woman with outstretched arms who reaches for a beach ball, swings a rope, dives, or aids a disabled swimmer. Two of the works date from November 1932; the third, from December. 

Several women in the etchings of swimmers are modeled after Marie-Thérèse, who was known to be an avid swimmer. In both the etching of the diving woman as well as the one depicting a rescue, numerous bathers possess the unique profile and curvaceous body associated with her. The third print, composed of stippled figures playing ball or perhaps jumping rope, repeats the Surrealist influence typical in the 1928 Dinard works when she had secretly accompanied Picasso on his family vacation; it retains the spirit of similar playful scenes of women on the beach. Although the linear and biomorphic bodies of these bathers do not specifically relate to Marie-Thérèse, the seaside setting does. [A painting from November 1932](https://www.sothebys.com/en/auctions/ecatalogue/2014/impressionist-modern-art-evening-sale-n09139/lot.24.html), catalogued by Christian Zervos, combines the diverse activities of the tree etchings into a single work (Z.VIII.64). 

Various beach scenes from 1932, such as painting from the artist’s estate, elicit a spirited mixture of joy and playfulness. They thrive on physical movement and contact. The women play, dive, or swim to aid someone in distress. There is something psychologically dichotomous about these works. From image to image, they shift between the extremes of frivolity and tragedy that co-exist in Picasso’s other versions of these scenes. 

The swimmer’s rescue is a frightening addition to a suite of pleasant beach and summer scenes. The drowning was also the subject of a [December 1932 painting](https://www.fondationbeyeler.ch/fr/collection/oeuvre?tx_wmdbbasefbey_pi5%5Bartwork%5D=219&cHash=bda37abbea918a39799c467313aed352) (Z.VIII.66) and repeated in graphics ([Geiser/]Baer 273-274) the day following the present example. Is this Picasso’s constant reminder of danger? Or is this simply the violent confrontation of earlier works, perhaps best exemplified by the fighting couple in the 1931 painting [*Figures Beside the Sea*](https://cep.museepicassoparis.fr/explorer/figures-au-bord-de-la-mer-mp131) (MP131), exchanged for a scene of helplessness or distress? The aggression is gone, transformed into a “melodramatic-tragic” scene in which, instead of combating one another, humans try to save one another. Pierre Daix has suggested the situation was derived from a real event. According to Brigitte Baer, Picasso transposed a river incident and an ensuing sickness incurred by Marie-Thérèse into these drowning scenes. 

The compositions for all three etchings [[*The Beach*](https://www.museopicassomalaga.org/en/coleccion/the-beach), *The Bath* and [*The Rescue*](https://www.museopicassomalaga.org/en/coleccion/the-rescue)] were drawn in 1932. The prints were pulled in 1961 for the Galerie Louise Leiris by the printer Jacques Frélaut, who was the successor of Roger Lacourière’s well-known Montmartre printing studio’. 
 
 
Text: GIMÉNEZ, Carmen (ed). *Museo Picasso Málaga Collection*. Malaga: Museo Picasso Málaga, 2003, pp. 445-450.

The Bath  