Pablo Picasso (1881–1973), pursued drawing assiduously throughout his career, and this publication presents works in pen, pencil, charcoal, and paper collage from 1901 to 1966.
It is not a survey of his stylistic innovations, however, but rather the first focused look at the artist's use of line, his “linealism,” as defined by an eminent scholar and principal author Carmen Giménez. Featuring extraordinary reproductions of over one hundred drawings as well as examples of Picasso’s painting and sculpture and photographs of the artist and his studio, Picasso The Line explores a fascinating yet often overlooked aspect of the artist’s formidable body of work, ultimately positioning drawing as the most inventive and mental of all artistic practices.
About the Authors
Carmen Giménez is the founder and former director of the Musée Picasso, Málaga, and a curator at the Solomon R. Guggenheim Museum, New York. Among her previous books on the artist are Picasso Black and White (2012), El Picasso de los Picasso (2003), and Picasso and the Age of Iron (1993).
David Breslin is the curator in charge of the Department of Modern and Contemporary Art at the Metropolitan Museum of Art. He is the former John R. Eckel, Jr. Foundation Chief Curator of the Menil Drawing Institute. He is the co-editor of Art History and Emergency: Crises in the Visual Arts and Humanities (2016) and has curated exhibitions on the work of, among others, David Smith and Thomas Schütte.
Clare Elliott is associate research curator at the Menil Collection. She was the curator of Forrest Bess: Seeing Things Invisible (2013) and authored the accompanying publication.
