Picasso: Fifty-Five Years of His Graphic Work

By Bernhard Geiser; Pablo Picasso | Go to book overview

LIST OF ILLUSTRATIONS
1. The Left-Handed Man (El Zurdo). 1899. G 1. Etching, 4⅝ × 3⅛″.
2. The Frugal Repast. 1904. G 2 IIb. Etching 18¼ × 14¾″.
3. Head of a Woman in Profile. 1905. G 7 b. Dry point, 11½ × 9⅞″.
4. The Bath. 1905. G 14 b. Dry point, 13½ × 11⅜″.
5. Mother Combing Her Hair. 1905. G 15 a. Etching,9¼ × 6⅞″.
6. At the Circus. 1905. G 11 b. Dry point, 8⅝ × 12½″.
7. The Saltimbanques. 1905. G 9 b. Dry point, 11⅜ × 12⅞″.
8. The Dance. 1905. G 18 b. Dry point 7¼ × 9⅛″.
9. Salome. 1905. G 17 b. Dry point, 15⅞ × 13¾″.
10. The Chicken and the Eagle. 1906. G 214 and G 213. Woodcut, 2½ × 1⅞″; 2⅜ × 2¾″.
11. Head of a Young Woman. 1906. G 212. Woodcut, 21⅞ × 15⅛″.
12. Two Nudes. 1909. G 21 III b. Dry point, 5⅛ × 4⅜″.
13. Still Life with Fruitbowl. 1909. G 22 III b. Dry point, 5⅛ × 4⅜″.
14. Still Life with Skull*. 1914. G 36 I. Dry point, 6⅛ × 4½″. *Illustration for the book by Max Jacob, Le siège de Jérusalem. Paris: Henry Kahnweiler, 1914. With 3 etchings and dry points (G 35-37).
15. The Convent*. 1910. G 26 b. Etching, 7⅞ × 5½″. *Illustration for the book by Max Jacob, Saint Matorel, Paris: Henry Kahnweiler, 1911. With 4 etchings (G 23-26).
16. Still Life with Bottle. 1912. G 33 b. Dry point, 19⅝ × 12″.
17. Man with Dog. 1914. G 39 II. Etching, 11 × 8⅝″.
18. Harlequin*. 1917. G 54 II. Burin engraving, 6⅜ × 4⅝″. *Illustration for the 14 de luxe copies of the book by Max Jacob, Le cornet à dés. Paris: Published by the author, 1917.
19. Pierrot*. 1918. G 55. Etching, 5⅞ × 4½″. *Illustration for the 20 de luxe copies of the book by Max Jacob, Le phanérogame, Paris: Published by the author, 1918.
20. The Window at Saint-Raphaël*. 1919. G 221; M 1. Lithograph, 5¼ × 3¼″. *Invitation card to the Picasso exhibition at the Galerie Paul Rosenberg, Paris 1919.
21. Woman Seated before a Window*. 1919. G 222; M 2. Lithograph, 7⅞ × 6¾″. *Illustration on the cover of the catalogue L'Exposition de dessins et aquarelles par Picasso. Paris: Galerie Paul Rosenberg, 1919.
22. Pierre Reverdy*. 1922. G 63 b. Etching 4⅝ × 3½″. *Frontispiece to book by Pierre Reverdy, Cravates de chanvre. Paris: Nord-Sud, 1922. Thirty de luxe copies contain 3 etchings (G 63-65), the others, 1 etching (G 63).
23. Paul Valéry III. 1920. G 226; M VI. Lithograph, 3⅞ × 2½″.
24. Three Horses on the Seashore. 1920. G 227; M VII. Lithograph, 4⅞ × 6½″.
25. The Horseman*. 1921. G 228; M VIII. Lithograph, 7⅝ × 10⅝″.
26. The Wrestlers*. 1921. G 229; M IX. Lithograph, 4¼ × 7⅝″.
27. On the Beach I (Two Nudes)*. 1921. G 230; MX Lithograph 4 × 8⅝″. *From M. de Zayas (ed.), Quatre lithographies. Paris: 1921. Published in an edition of 50 copies, some of which were taken over by the Galerie Simon in 1928 and sold under their imprint.
28. The Coiffure. 1923. G 234; M XIV. Lithograph, 10¼ × 6½″.
29. The Wreath of Flowers. 1923. G 233; M XIII. Lithograph, 11¾ × 9⅜″.
30. The Source. 1921. G 61 II. Dry point and burin engraving, 9⅜ × 7″.
31. Seated Woman. 1924. G 239; M XIX. Lithograph, 11⅝ × 8¼″.
32. Female Nude, with Parallel Lines. 1922-23. G 96. Etching, 4⅝ × 3⅛″.
33. Head of a Woman. 1925. G 240; M XX. Lithograph, 5 × 4½″.
34. Interior. 1926. G 241; M XXI. Lithograph, 8¾ × 11″.
35. Reading. 1926. G 242; M XXII. Lithograph, 12⅞ × 9⅝″.
36. The Artist and His Model. 1930. G 247; M XXVII. Lithograph, 9⅛ × 11⅜″.
37. Face*. 1928. G 243; M XXIII. Lithograph, 8 × 5⅝″. *For the 120 de luxe copies of the book by André Level, Picasso. Paris: Editions G Crès & Cie., 1928.
38. Figure in Profile. 1928. G 245; M XXV. Lithograph, 8⅝ × 4⅞″.
39. Figure*. 1929. G 246; M XXVI. Lithograph, 9⅜ × 5⅜″. *Published as a supplementary sheet for the sunscribers to the magazine Le manuscrit autographe, No. 21, May-June 1929. Said to be a study for a monument to Guillaume Appolinaire.
40. The Three Friends. 1927. G 117. Etching, 16⅜ × 11¾″.
41. Two Nudes in a Tree. 1931. G 204. Etching, 14¾ × 11¾″.
42. Table of Etchings*. Plate XIII. 1931. G 135. Etching, 14¾ × 11¾″.
43. Bull and Horse*. Plate III. 1927. G 125 b. Etching, 7⅝ × 11″.
44. Painter before His Easel*. Plate XII. 1927. G 134 b. Etching, 7⅝ × 10⅞″.
45. Painter between Two Models*. Plate II. 1927. G 124 b. Etching, 7½ × 11″. *Illustrations for Honoré de Balzac, Le chef d'œuvre inconnu. Paris: Ambroise Vollard, 1931. The work was published in two editions: book edition (with text) and portfolio edition (without text). The book edition contained 13 etchings (G 123-135) and 67 woodcuts by Aubert after drawings by Picasso. The portfolio edition contained etchings only, and the Tables of Etchings, showing the etchings in reduced scale, has had drawings added in the margins.

-170-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Picasso: Fifty-Five Years of His Graphic Work
Table of contents

Table of contents

  • Title Page iii
  • Biographical Summary xviii
  • List of Illustrations 170
  • Bibliography of Picasso's Graphic Work 174
  • Books Illustrated by Picasso 176
  • Credits 178
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 180

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.