Overview

Pablo Picasso's artistic output is astonishing in its ambition and variety. This handsome new publication examines a particular aspect of his legendary capacity for invention: his imaginative and original use of paper. He used it as a support for autonomous works, including etchings, prints and drawings, as well as for his papier-colle experiments of the 1910s and his revolutionary three-dimensional 'constructions', made of cardboard, paper and string. Sometimes, his use of paper was simply determined by circumstance: in occupied Paris, where art supplies were hard to come by, he ripped up paper tablecloths to make works of art. And, of course, his works on paper comprise the preparatory stages of some of his very greatest paintings, among them Les Demoiselles d'Avignon (1907) and Guernica (1937). With reproductions of more than 300 works of art and a series of insightful new texts by leading authorities on the artist, this sumptuous study reveals the myriad ways in which Picasso's genius seized the potential of paper at different stages throughout his career. AUTHOR: Ann Dumas is Curator at the Royal Academy of Arts, London. SELLING POINTS: . Pablo Picasso's often experimental and at times revolutionary use of paper is the subject of this major study . Presents over 300 works, spanning his career 400 colour images

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9781912520176

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A connoisseur of the cheap and mass produced as well as the handmade and the specialised, as he folded, glued together, cut and tore, basted in ink and washes, drew on and rubbed into. Paper for him was a medium (just as was paint, clay or plaster) to be manipulated... The multiple transformations he performed in his art evidence his unnerving vitality, his recklessness and confidence, his altogether too-muchness.--Adrian Searle Guardian Few artists were so sensitive to the sensuous qualities of particular paper [...] but he was the kind of man who'd make the most of anything he could lay his hands on.--Melanie McDonagh Evening Standard I can't imagine there will be a more comprehensive and thoughtful exhibition of this giant of modern art in my lifetime.--Andrew Marr Daily Mail Nothing less than an accumulation of sacred relics.--Laura Cumming Guardian Reveals the full scope of his brilliance--Waldemar Januszczak The Times The work is a whirlwind of innovation, and here, on paper, Picasso is doing it all at his most intimate and unguarded... this is a show filled with jaw-dropping moments of beauty.--Editors Time Out London There's Brilliance At Every Turn In 'Picasso And Paper.'--Editors Londonist This torrent of a show isn't really about Picasso and paper: It's about the magic of his hands: The urge to make.--Editors The Times While his ability to re-envision people, places and objects was arguably without peer, equally laudable was Picasso's ostensibly effortless ability to work across a wide swatch of mediums and materials.--Ken Scrudato Blackbook Why was paper so important to him then? Because it gave Picasso an enormous degree of flexibility, physically and mentally. He was never a theoretician... What he did instead was to work through his ideas verblessly, with his hands, and often at the speed of a magician... Paper, in short, was at one with this artist's nature.--Michael Glover Hyperallergic

Author Information

Ann Dumas is Curator at the Royal Academy of Arts, London. Emmanuelle Hincelin is a paper conservator. Christopher Lloyd CVO is former Surveyor of The Queen's Pictures. Emilia Philippot is Curator at the Musee national Picasso-Paris. Bill Robinson is Senior Curator of Modern European Painting and Sculpture at the Cleveland Museum of Art. Stephen Coppel is Curator of the Modern Collection, Department of Prints and Drawings, at the British Museum. Violette Andres is responsible for digitisation and photographic collections at the Musee Picasso, Paris

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