• In 2016, the Museu Picasso in Barcelona purchased Lucien Clergue’s collection of photographs of Picasso: close to 600 black and white vintage silver gelatin prints. This book presents a selection of the collection in chronicle form: Clergue’s story in images of Picasso, compiled during the many encounters between the two in the French Midi, where they both lived.
    Camí: /museupicasso/en/picasso-clergue
  • The technical study of Picasso’s oeuvre welcomes us into a fascinating space of research and learning. By combining analyses of materials, image techniques and high resolution digital photography with other exploration tools we have been able to trace the artist’s creative journey and decipher the information hidden in four paintings of the years 1901-1904: "Still Life", "Jaume Sabartés with Pince-Nez" and "The Blue Glass and Barcelona Rooftops". 
    Camí: /museupicasso/en/picasso-blue-project
  • Vilató takes advantage of the time he spends on the phone to draw. They are sketches of his works, both engravings and paintings, in which there appear the figurative schemes that are so much his own and that evoke hybrid characters, chimerical birds, turtles, musical scores, cellists, the sun... Notes abound too. Addresses jotted down during the conversation. Appointments. Phone numbers. Odd calculations. The Museu Picasso de Barcelona celebrates the centenary of Javier Vilató’s birth with this catalogue.
    Camí: /museupicasso/en/vilato_telephone_drawings
  • Lola Ruiz Picasso, who was the artist’s first model, inherited the office of guardian of the Picasso treasure in Barcelona from her mother, doña María, and herself passed on this responsibility to her children, the Vilató Ruiz siblings, all of whom enthusiastically shared in their uncle’s idea of making Barcelona the recipient of the works kept in the family home.
    Camí: /museupicasso/en/lola-ruiz-picasso-custodian-treasure
  • Camí: /museupicasso/en/node/805
  • «Je suis le cahier» – ‘I am the sketchbook’: this declaration of identification that Picasso wrote in 1907, in one of the sketchbooks directly linked to Les Demoiselles d’Avignon, attests to the great importance he attached to the laboratory of ideas constituted by the carnets in which he sketched and drew. This project affords us a unique opportunity to immerse ourselves in the inexhaustible curiosity of the great artist. The nineteen sketchbooks (1.300 drawings) on show in this exceptional catalogue make it clear how important it was for the artist to be able to play and experiment to find formal and compositional solutions he needed. They also are a testament to the vivacity and speed of his gesture and his mastery of media and techniques.
    Camí: /museupicasso/en/picasso-sketchbooks
  • In the months of January and February 1938, on occasion of the well-known International Exposition of Surrealism held at the Galerie Beaux-Arts in Paris, Óscar Domínguez’s gramophone "Jamais" (Never) caused as much of a stir as Salvador Dalí’s "Taxi pluvieux" (Rainy Taxi) or the 1,200 sacks of coal suspended from the ceiling in the main hall.
    Camí: /museupicasso/en/jamais-%C3%B3scar-dom%C3%ADnguez-pablo-picasso
  • «say one hundred times a and afterwards b and afterwards a b a a and afterwards a b a b and afterwards a b c d jump of the toad». Picasso Pablo (22.01.1936). The structure of the alphabet perfectly matches the poetry of Picasso, who always felt a predilection for both letters and words, as well as for inventories, lists and repetitions. Writing was for him the inseparable complement of painting, because it expressed what the image could not express.
    Camí: /museupicasso/en/alphabet-picasso-poet
  • Pablo Picasso, who maintained an unwavering friendship with Guillaume Apollinaire (1880-1918) and Paul Eluard (1895-1952), never managed to overcome the premature death of those two great poets.
    Camí: /museupicasso/en/pablo-picasso-paul-eluard-A-sublime-friendship
  • Picasso, as his friend Man Ray had already written in the journal Cahiers d’Art in 1937, had a fruitful and complex relationship with the camera whose analysis became possible after 1992, when the artist’s heirs donated part of his photographic archive to the French State. It has taken years to organise and study the vast amount of material in this legacy since Anne Baldassari, conservator of the Musée national Picasso-Paris, first started in the mid-1990s to conduct in-depth research on the black and white images making up the museum’s holdings.
    Camí: /museupicasso/en/Picasso-the-Photographer-s-gaze