Pablo Picasso (1881 - 1973)
Spanish painter, sculptor, printmaker, and ceramicist mostly active in FranceBooks on Pablo Picasso
Books with substantial mentioning of Pablo Picasso
| Rudolf Koella und Felix Billeter Verborgene Meisterwerke, R. & H. Batliner Art Foundation Vaduz Wien, 2005 |
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| Joann Cerrito (ed.) Contemporary Artists New York, [..], 1996 |
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| Lothar Romain, Detlef Bluemler (eds.) Künstler, Kritisches Lexikon der Gegenwartskunst München, 1988- |
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Catalogues
| Emily Braun The Hillman Family Collection, Manet to Matisse New York; Seattle and London, 1994 |
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Articles on Pablo Picasso
| Elizabeth Cowling, What the wallpapers say: Picasso's papiers collés of 1912-14, in Burlington Magazine, 155, 2013 pp. 594-601 |
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| Genoveva Tusell Garcia, Picasso, a political enemy of Francoist Spain, in Burlington Magazine, 155, 2013 pp. 167-172 |
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| Lewis Kachur, Picasso's Drawings, 1890-1921, New York and Washington, in Burlington Magazine, 154, 2012 pp. 148-149 |
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| Gertje R. Utley, Letter, Picasso's politics, in Burlington Magazine, 152, 2010 pp. 616 |
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| Joan P. Uraneck, Picasso and the sight-size technique, in Burlington Magazine, 151, 2009 pp. 321 |
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| Ariel Dorfman, Picasso's Closet, in Art Bulletin, 91, 2009 pp. 6-29 |
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| Pepe Karmel, Response: Suffering Machine: Ariel Dorfman and Picasso, in Art Bulletin, 91, 2009 pp. 30-34 |
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| Patricia Leighten, Response: Artists in Times of War, in Art Bulletin, 91, 2009 pp. 35-44 |
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| Mieke Bal, Response: Ariel Dorfman's Quest for Responsibility, in Art Bulletin, 91, 2009 pp. 44-50 |
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| Ariel Dorfman, The Author Replies: Our Black-and-White Catastrophe, in Art Bulletin, 91, 2009 pp. 51-58 |
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| John Elderfield, Picasso's Extreme Cézanne, in Joseph J. Rishel and Katherine Sachs (eds.), Cézanne and Beyond, Philadelphia; New Haven and London, 2009, pp 207-225 |
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| Annabelle Ténèze, Marie-Christine Enshaïan and Emmanuelle Hincelin, First Steps toward a Study of Papers and Watermarks in the Drawings of Picasso, in Master Drawings, 47, 2009 pp. 17-52 |
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| Jackie Heuman, A technical study of Picasso's construction 'Still life' (1914), in Burlington Magazine, 150, 2008 pp. 749-754 |
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| David Ekserdjian, Picasso's first drawing and its source, in Burlington Magazine, 150, 2008 pp. 825 |
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| Joan Uraneck, Picasso's 'Academic study of a cast of a classical sculpture' (1893-94) and the sight-size technique, in Burlington Magazine, 150, 2008 pp. 826-828 |
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| Marilyn McCully, Picasso in the 'Burlington': his first English review, in Burlington Magazine, 150, 2008 pp. 829 |
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| James Beechey, Picasso in London, in Burlington Magazine, 149, 2007 pp. 42 |
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| Susan Greenberg, A Picasso drawing at Yale, courtesy of Marcel Duchamp, in Burlington Magazine, 148, 2006 pp. 201-202 |
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| James Beechey and Richard Shone, Picasso in London, 1919: the première of 'The Three-Cornered Hat', in Burlington Magazine, 148, 2006 pp. 666-679 |
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| Christopher Green, Anthony Blunt's Picasso, in Burlington Magazine, 147, 2005 pp. 26-33 |
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| Laurence Madeline, Picasso and the Calvet affair of 1930, in Burlington Magazine, 147, 2005 pp. 316-323 |
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| Joan P. Uraneck, Picasso's 'Two views of a left eye' of 1892-93: a recent discovery, in Burlington Magazine, 145, 2003 pp. 585-587 |
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| Kathleen Brunner, 'Guernica': the apocalypse of representation, in Burlington Magazine, 143, 2001 pp. 80-85 |
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| Peter Lodermeyer, Kunst als mythopoetische Bastelei. Eine Interpretation von Picassos Plastik "Frau mit Kinderwagen" (1950), in Roland Krischel (ed.), Wallraf-Richartz-Jahrbuch, Köln, 2000, pp 291-305 |
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| Lucy Belloli, The Evolution of Picasso's Portrait of Gertrude Stein, in Burlington Magazine, 141, 1999 pp. 12-18 |
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| Robert S. Lubar, Unmasking Pablo's Gertrude: Queer Desire and the Subject of Portraiture, in Art Bulletin, 79, 1997 pp. 57-84 |
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Kirsten H. Powell, 'La Drôle de guerre': Picasso's 'Femme nue se coiffant' and the 'Phony War' in France, in Burlington Magazine, 138, 1996 pp. 235-245
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| Anna C. Chave, New Encounters with Les Demoiselles d'Avignon: Gender, Race, and the Origins of Cubism, in Art Bulletin, 76, 1994 pp. 597-611 |
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| Jan van Adrichem, Collectors of modern art in Holland: Picasso as pars pro toto, 1920-40, in Simiolus, 22, 1993/1994 pp. 148-198 |
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| Thesy Teplitzky, Picasso in Rembrandt-Maske. Überlegungen zu "Buste d'Homme au Chapeau (Bildnis eines Mannes mit Hut)" im Museum Ludwig in Köln, in Frank Günter Zehnder (ed.), Wallraf-Richartz-Jahrbuch, Köln, 1993, pp 393-396 |
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| Jan van Adrichem, The introduction of modern art in Holland, Picasso as pars pro toto, 1910-30, in Simiolus, 21, 1992 pp. 162-211 |
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| Timothy Anglin Burgard, Picasso and Appropriation, in Art Bulletin, 73, 1991 pp. 479-494 |
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| Nina Corazzo, Picasso's 'Night fishing at Antibes', a new source, in Burlington Magazine, 132, 1990 pp. 99-101 |
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| Patricia Leighten, The White Peril and L'Art nègre: Picasso, Primitivism, and Anticolonialism, in Art Bulletin, 72, 1990 pp. 609-630 |
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| Marilyn McCully and Michael Raeburn, Picasso's Politics in Barcelona, in Art Bulletin, 69, 1987 pp. 133-134 |
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| Patricia Leighten, Reply, in Art Bulletin, 69, 1987 pp. 134-136 |
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| Timothy Anglin Burgard, Picasso's Night Fishing at Antibes: Autobiography, Apocalypse, and the Spanish Civil War, in Art Bulletin, 68, 1986 pp. 657-672
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| Patricia Leighten, Picasso's Collages and the Threat of War, 1912-13, in Art Bulletin, 67, 1985 pp. 653-672
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| William Rubin, From Narrative to "Iconic" in Picasso: The Buried Allegory in Bread and Fruitdish on a Table and the Role of Les Demoiselles d'Avignon, in Art Bulletin, 65, 1983 pp. 615-649
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| Mark Rosenthal, Picasso's Night Fishing at Antibes: A Meditation on Death, in Art Bulletin, 65, 1983 pp. 649-658
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| Paul Hayes Tucker, Picasso, Photography, and the Development of Cubism, in Art Bulletin, 64, 1982 pp. 288-299
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| Max Imdahl, Cézanne-Braque-Picasso. Zum Verhältnis zwischen Bildautonomie und Gegenstandssehen, in Gert von der Osten (ed.), Wallraf-Richartz-Jahrbuch, Köln, 1974, pp 325-365 |
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Articles with substantial mentioning of Pablo Picasso
| Anna Gruetzner Robins, 'Manet and the Post-Impressionists': a checklist of exhibits, in Burlington Magazine, 152, 2010 pp. 782-793 |
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