View Full Version : Master of the Month #23 - November 2005 (Pablo Picasso)

11-01-2005, 10:11 AM
Thanks, Tinna(Ava G) for writing our MOM! :clap: :clap: :clap:

November’s MOM is Pablo Ruiz Picasso one of the most important and influential artist in 20th century art.


A painter, sculptor, graphic artist, and ceramicist, he was remarkable for his technical virtuosity, incredible originality, and prolificacy. He became the very prototype of the modern artist as public figure. No painter before him had had a mass audience in his own lifetime.
By the time he died (April 8th 1973) age 91, he had created a staggering 22.000 works of art in a variety of mediums, including sculpture, ceramics, mosaics, stage design and graphic arts. As critic Hughes notes,
"There was scarcely a 20th century movement that he didn't inspire or contribute to.”

Pablo Picasso was born on October 25, 1881, in Málaga, Spain. The son of an academic painter, José Ruiz Blanco and Maria Picasso Lopez. Picasso began to draw at an early age and the oldest Picasso painting known to exist, Le Picador, was painted 1889-1890 when Picasso was 8 years old. As a boy Picasso was encouraged and guided by his father to master various techniques of drawing and he learned quickly. Later Picasso said “When I was 12 years old I drew like Rafael”.

In 1895, the family moved to Barcelona, and Picasso studied there at La Lonja, the academy of fine arts. Aged 14, Picasso was too young to study at La Lonja but with his fathers help, he to convince the school authorities to allow him to tryout the intake assignments. Picasso finished his assignment in 24 hours though a full month was allowed for the assignment.

He was a rebel from the start and, as a teenager, began to frequent the Barcelona cafes where intellectuals gathered and his association with the group at the café Els Quatre Gats about 1899 were crucial to his early artistic development..

In 1900, Picasso’s first exhibition took place in Barcelona where he first used the Picasso name to sign his work.That fall he went to Paris for the first of several stays during the early years of the century. In Paris, Picasso soaked up the works of Manet, Gustave Courbet and Toulouse-Lautrec whose sketchy style impressed him greatly.

Picasso's work is usually decribed in terms of a series of overlapping periods. The first period, his early work changes around 1901 when Picasso begins working on his melancholic, blue tone paintings.

The Blue period (1901-1904) characterized by paintings in blue tones depicting the poor and disadvantaged. Among those, from 1903 Life.
Picasso settled in Paris in April 1904 marking the beginning of the Rose period (1904-6) where the palette lightened. The subjects displayed in his paintings are circus people, the most famous one Family of Saltimbanques, 1905.

The rose period shows how Picasso slowly simplified his forms as in his portraits and figureative paintings, flattening the shapes and overlooking depth as the form became the subject. A style sometimes called protocubism. An example is a 1906 painting of Gertrude Stein.

11-01-2005, 10:13 AM
Cubism (1907-1915)
In 1907 Picasso painted HYPERLINK "http://affiliates.allposters.com/link/redirect.asp?item=317416&AID=576251&PSTID=1&LTID=1" \t "_blank" Les Demoiselles d’Avignon a radical departure from the artistic ideas of the preceding ages and now considered the most significant work in the development toward cubism and modern abstraction. Picasso was a little afraid of the painting and didn't show it except to a small circle of friends until 1916.
st phase of cubism, called analytic cubism. This severe, intellectual style was conceived and developed by Picasso, Braque, and Gris c.1909–12.

In the synthetic phase of cubism (after 1912) his forms became larger and more representational, and flat, bright decorative patterns replaced the earlier, more austere compositions. HYPERLINK "http://www.philamuseum.org/collections/modern_contemporary/1952-61-96.shtml" \t "_blank" The Three Musicians (1921; Mus. of Modern Art, New York City) exemplifies this style
In the period between the Wars (1918-1939) Picassos style and subjects change rapidly. Picasso’s collaboration on ballet and theatrical productions began in 1916. He produced fascinating theatrical sets and costumes for the Ballet Russe from 1914 on,
Soon thereafter, his work was characterized by neoclassicism and a renewed interest in drawing and figural representation. in the 1920s, to a rich classical style, creating some breathtaking line drawings,In the 1920s he drew heavily on classical themes and produced magnificent monumental nudes and monsters that were reminiscent of antiquity and rendered with a certain anguished irony. These works appeared simultaneously with synthetic cubist paintings
From 1925 into the 1930s, Picasso was involved to a certain degree with the Surrealists, and from the fall of 1931 he was especially interested in making sculpture. dabbled with Surrealism between 1925 and for a time saluted as a forerunner of HYPERLINK "http://www.encyclopedia.com/[email protected]%20surrealism" \t "_blank" Surrealism, but his intellectual approach was basically antithetical to the irrational aesthetic of the Surrealist painters. **
By 1936, the Spanish Civil War had profoundly affected Picasso, In 1937 the bombing of the Spanish town of Guernica impelled him to produce his second landmark painting, HYPERLINK "http://www.pbs.org/treasuresoftheworld/a_nav/guernica_nav/main_guerfrm.html" \t "_blank" Guernica
In his later years, Picasso turned to creations of fantasy and comic invention and he worked consistently in sculpture, ceramics, and the graphic arts through out his life.
HYPERLINK "http://www.artchive.com/artchive/P/picasso.html" http://www.artchive.com/artchive/P/picasso.html
HYPERLINK "http://www.picasso.fr/anglais/cdpablo.htm" http://www.picasso.fr/anglais/cdpablo.htm
HYPERLINK "http://www.picasso.com/life/index.html" http://www.picasso.com/life/index.html
HYPERLINK "http://painting.about.com/library/weekly/aa012101a.htm" http://painting.about.com/library/weekly/aa012101a.htm

HYPERLINK "http://www.guggenheimcollection.org/site/artist_bio_126.html" http://www.guggenheimcollection.org/site/artist_bio_126.html

HYPERLINK "http://www.swarthmore.edu/bulletin/archive/99/dec99/picasso.html" http://www.swarthmore.edu/bulletin/archive/99/dec99/picasso.html
HYPERLINK "http://www.viaartis.org/en/Picasso/PIC_Picasso-MOMAx1932.php" http://www.viaartis.org/en/Picasso/PIC_Picasso-MOMAx1932.php
INCLUDEPICTURE "http://www.artchive.com/graphics/dot_clear.gif" \* MERGEFORMATINET HYPERLINK "http://www.amazon.com/exec/obidos/ISBN=0679764216/texasnetmuseumof" A Life of Picasso: Volume I, 1881-1906
HYPERLINK "http://www.amazon.com/exec/obidos/ISBN=0394559185/texasnetmuseumof" A Life of Picasso: Volume II, 1907-1917
John Richardson, Marilyn McCully
INCLUDEPICTURE "http://www.artchive.com/graphics/dot_clear.gif" \* MERGEFORMATINET INCLUDEPICTURE "http://www.artchive.com/graphics/dot_clear.gif" \* MERGEFORMATINET
HYPERLINK "http://www.amazon.com/exec/obidos/ISBN=0300071663/texasnetmuseumof" Picasso : The Early Years 1892-1906
HYPERLINK "http://painting.about.com/library/blpicassoquotes.htm" http://painting.about.com/library/blpicassoquotes.htm
HYPERLINK "http://www.viaartis.org/en/Picasso/PIC_Picasso-MOMAx1932.php" http://www.viaartis.org/en/Picasso/PIC_Picasso-MOMAx1932.php
HYPERLINK "http://www.swarthmore.edu/bulletin/archive/99/dec99/picasso.html" A love poem of a painting "Girl Before a Mirror" by Pablo Picasso
HYPERLINK "http://www.swarthmore.edu/bulletin/archive/99/dec99/picasso.html" http://www.swarthmore.edu/bulletin/archive/99/dec99/picasso.html

11-01-2005, 10:17 AM
La Vie (Life). 1903. Oil on canvas. The Cleveland Museum of Art, Cleveland, USA.

The Old Guitarist. 1903. Oil on panel. Art Institute of Chicago, Chicago, IL, USA.

The Family of Saltimbanques. 1905. Oil on canvas. The National Gallery of Art, Washington, DC, USA.*

Two Brothers. 1905. Oil on canvas. Kunstmuseum Basel, Basel, Switzerland.

11-01-2005, 10:41 AM
The first of our 2 Picasso MOMs is a painting titled the Lovers, painted in 1923. A work period in the early 1920s of neoclassical works. Often this period is referred to as the period between the wars 1918-1939 where as Picasso moved to realism after the war and lin the 1930s did many pictures with a surreal quality. The Lovers original size 130.2 x 97.2 cm (51 1/4 x 38 1/4 in.)*
HYPERLINK "http://www.paletaworld.org/artist.asp?id=41" http://www.paletaworld.org/artist.asp?id=41
INCLUDEPICTURE "http://cgfa.sunsite.dk/picasso/picasso3.jpg" \* MERGEFORMATINET


11-01-2005, 10:43 AM

The other MOM Picasso painting is Girl Before a Mirror, oil on canvas, painted in 1932. Original size 64 x 51 1/4" or 162.3 x 130.2 cm. The painting is in the collection of the Museum of Modern Art in New York. Click this HYPERLINK "http://www.moma.org/collection/provenance/items/2.38.html"MoMA web page for more detail.

The painting conveys Marie Thérese Walter, a 17 year old girl Picasso met in 1927 and fell in love with. Marie Thérese became his secret lover and a new inspiration to Picasso in beautiful paintings and sculptures erotically suggesting his passion for Marie.
Girl before a Mirror is a painting filled with ornamental and decorative elements, common in the so-called glazed style Picasso applied to some of his works.
The bright colors express his love for the model and the curved lines and shapes his tenderness and adoration of her beautiful body.
Abstracted from
HYPERLINK "http://www.viaartis.org/en/Picasso/PIC_Picasso-MOMAx1932.php" http://www.viaartis.org/en/Picasso/PIC_Picasso-MOMAx1932.php
Another interesting text on Girl Before a Mirror
HYPERLINK "http://www.swarthmore.edu/bulletin/archive/99/dec99/picasso.html" http://www.swarthmore.edu/bulletin/archive/99/dec99/picasso.html
HYPERLINK "http://www.swarthmore.edu/bulletin/archive/99/dec99/picasso.html" A love poem of a painting "Girl Before a Mirror"

11-01-2005, 10:44 AM
For our Picasso Mom´s work, a few words about Picassos palette might be helpful.

Picassos´ palette has been decribed as limited and even almost boring. From a limited pallette he mixed a wide range of colors to sculpt and shade his forms
"Some painters transform the sun into a yellow spot, others transform a yellow spot into the sun.". Picasso
Not much has been written about his color theory amongst the innumerable writings on Picassos´ life and work.

What is known however, black and white were always included in Picassos´ palette, used to create his tints and shades.
For example a color analysis of the Girls from Avignon
shows in addition to black and white, 4 other colors; Yellow Ochre, Vermillion, Cobalt blue and Cadmium Yellow light.
Quite amazing.

Picasso used color to depict emotions and mood in his paintings and changes in his palette trace the mood of a particular period. Always keeping the palette limited to a few colors though the over all effect of the pallette changed to a brighter or a darker mood.
"Color, like features, follow the changes of the emotions." Picasso
Abstracted and edited in part from
HYPERLINK "http://painting.about.com/library/weekly/aa012101a.htm" http://painting.about.com/library/weekly/aa012101a.htm
HYPERLINK "http://www.amazon.com/exec/obidos/ISBN=0810961253/texasnetmuseumof" Les Demoiselles D'Avignon (Studies in Modern Art, No 3)?William Rubin, et al
? INCLUDEPICTURE "http://www.artchive.com/graphics/dot_clear.gif" \* MERGEFORMATINET INCLUDEPICTURE "http://www.artchive.com/graphics/dot_clear.gif" \* MERGEFORMATINET HYPERLINK "http://www.amazon.com/exec/obidos/ISBN=0810961601/texasnetmuseumof" Picasso and Portraiture : Representation and Transformation?William Rubin (Editor), Anne Baldassari, Pierre Daix
INCLUDEPICTURE "http://www.artchive.com/graphics/dot_clear.gif" \* MERGEFORMATINET
INCLUDEPICTURE "http://www.artchive.com/graphics/dot_clear.gif" \* MERGEFORMATINET HYPERLINK "http://www.amazon.com/exec/obidos/ISBN=0810937417/texasnetmuseumof" Picasso's Variations on the Masters : Confrontations With the Past?Susan Grace Galassi
This is an extremely interesting look at Picasso's series paintings based on masterworks from the past, from Velazquez to Delacroix to Manet.

11-01-2005, 10:46 AM
Tinna/Ava G - Thanks so much for preparing everything for our MOM this month! You really well done and you did a lot of work. Thanks again!

Barb Solomon :cat:

11-01-2005, 11:06 AM

I plan to participate this month.

Thanks for posting Barb!


11-01-2005, 11:14 AM
Tinna, Thanks so much for writing about Picasso. You did so great. :clap: :clap: :D And thanks Barb for posting it. :clap: :D

I just showed the pics and read some of it for my son. Like I said, he loves Picasso. When I started reading about the periods of blue and rose, he told me what he learned on school about it. I remember early this year when he studied Picasso and came home and spent almost an hour telling me all about it. :D Though his taste for art is very different from mine. I love to see that he actually enjoys art.

Barb, could you check for me please if I can post it for him? He decided for the second option, he says it is a beautifull painting. I really enjoy seeing him taking the project, but I am not sure, he can participate using my id.

Well, I am not doing it. But I will enjoy looking at you doing it. So good luck everybody.

:) :wave:

11-01-2005, 10:41 PM
Thanks for telling me about my mistake, Zoe!

Tinna, You really did a great job with the article! Thanks so much for getting everything ready!

Barb Solomon :cat:

glenn payan
11-01-2005, 11:33 PM
now I've got a fav. picasso i've always wantd to do. Is that okay or are we limited to the two shown here?

11-02-2005, 10:08 AM
I really like The Old Guitarist painting from 1903. I think i'm gonna be painting the Girl Before a Mirror this month. Should be interesting.

Hey Bernie :wave:


11-02-2005, 11:46 AM
Hey Mike... :wave:

now I've got a fav. picasso i've always wantd to do. Is that okay or are we limited to the two shown here?
Glenn... no reason you can't do the Picasso of your choice but you'll need to include it in it's own thread in the masters forum. I sure hope you try one of these and share in the comraderie here... :D

Mike... the Old Guitarist is one of my favs as well.

I plan on doing the "Lovers" but won't be able to start until next week.


11-02-2005, 04:46 PM

Great introduction to Picasso Ava G!

Thank you so much for your time and effort. :)

I am going to join in...yes I know, please don't make Picasso cry, but I have hankies......

Going to join Mike and do Girl Before a Mirror.

Just don't have a size picked out yet, it will be smaller than the original for sure.. :)

See you soon, Nickel

11-03-2005, 06:21 AM
Hi everyone! :wave:

This is my first MOM.
I love Picasso and The lovers is one of my favourites. I started my charcoil sketch yesterday. I am really focosing on getting the face expressions right, but boy, are they difficult.

I have taken the day off tommorrow so I plan to finish the sketch then.

By the way, There's a video with Picasso, where you can see him do several paintings from start to finish. I saw that video in a art course a while ago and I was so fascinated with how he played around, like a child, with colours and form. He constantly changed the painting with forms turning into totally different subjects. The video was like a peek into his artistic mind. It was after seeing this video that I really got interested in his paintings and understood his greatness.

I heard that it took the director 20 years of persuading before Picasso finally agreed to the video.

Hope to post my sketch soon

Ava G
11-03-2005, 08:36 AM
hi all and thank you all for your "thank yous".....:D

i began both moms and i´m almost done with a small painting of the lovers...the girl has to wait cuz i gave it to my son for practicing since he loves picasso....
maybe i´ll do it if i find the time....
but here´s what i´ve done with lovers so far....
look forward to see your moms.....i love to see work in progress....and do tell about your palette, work methods etc....this is a great learning tool for all of us
primary red, kadmium red, yellow ochre, viridian green, black, white, cobalt blue light....i didn´t do an underdrawing, just painted the colors in....used dark grey to do the lines...then finished the background....:eek:

11-03-2005, 10:30 AM
Tinna... Looking great! :clap:

Thanks for all the work you have put into this thread! :clap:
Like you... I am looking forward to everyone's input on technique, thoughts, likes/dislikes, etc.

Thanks for including your palette.

What size is this?

Is this one as easy as it looks?

Hey Nickel and Keya!!! :wave:


Ava G
11-03-2005, 10:52 AM
thanks rosic/bernie, it´s only 20 X 30 cm...glad you said it looks easy cuz i only took this small canvas for this painting because i thought the lovers looked suspiciously easy:cool:....and wanted to find out...

and it is and is not....colors easy....lines not so easy:eek: picasso was obviously a great draughtsman and those simple, fluid lines show that skill, and that´s where i had a little problem, looking at mine and the original made my lovers look like a page in a kids crayon book:evil:

11-03-2005, 11:00 AM
and it is and is not....colors easy....lines not so easy:eek: picasso was obviously a great draughtsman and those simple, fluid lines show that skill, and that´s where i had a little problem, looking at mine and the original made my lovers look like a page in a kids crayon book:evil:
This is the exact kind of insights I enjoy reading about the Masters that I can glean from these MOM threads. Thanks Tinna. I can see where this one may be easier said than done after your statements. :eek:

11-03-2005, 02:02 PM
Tinna - Thanks for letting us know more about working on your Picasso! Picasso could make drawing look so easy!

Hi Keya!!! It’s so nice to see that you decided to join us!

Barb Solomon :cat:

11-03-2005, 03:03 PM
Good start Tina.

What I find very difficult to copy masters work is using their colors more than anything else. I am fascinated by color. And I get stuck in that point most of the time. I didnt have the time to read all the links yet.

Are you using a medium, Ava?

Keya nice to see you trying it out too. Good luck to you. :)

11-03-2005, 03:47 PM
Rose... which one are you doing?

11-03-2005, 05:48 PM
Hi everyone!

Ava: your painting looks really good.

Here's my own progress so far. I spent alot of time on the sketch. The faces and the hands were most difficult. Then I put on the first layer of paint. I used:

cadmium yellow pale
cadmium red medium
burnt umber

The lines are made of ultramarin and burnt umber, They make a really nice dark.

I didn't do much blending. The green and blue are the only ones containing three tube colours (except white).

The green is made of: ultramarin and cadmium yellow pale (too get a slightly dull green) and viridian

The blue is made of: cobolt blue, cadmium red medium and viridian. The viridian because I sensed a green tone in the blue. Then I thought that the green tone would balance the green scarf and fantasied that maybe that's what Picasso intended. :)

11-03-2005, 05:56 PM
Hm. The image wasn't uploaded.

Here is another try


11-03-2005, 06:17 PM
Keya... Bravo... looking good! Thanks for sharing your palette with us as well.

What size is yours?


11-03-2005, 07:45 PM
Keya Great start!!

Hi Bernie, I and my son we doing the girl in the mirror. I am just printing out the painting to find a canvas to match it. We probably starting tomorrow. :)

Hi Mike. How is yours going? :)

Ava G
11-03-2005, 10:20 PM
thanks for sharing keya looks good:clap:
i agree the faces are not very easy to make...and i painted over first attept:evil:
for me this is quite different from the dali mom (figure), easy to draw but finding out the color mixes was hell....

11-04-2005, 01:39 AM
i was depressed 2day, after framing and showing a piece that someone wanted, but could not afford.
so i needed to paint something fun, i turned to picasso's 'woman with yellow hair' in my archives and knew this was the one to do. i hope it is ok to post it here. 8"x10" oil on yupo. and ps it did cheer me up to paint this! sorry there's some glare, ok his is better. :D

11-04-2005, 09:16 AM
Dear Artists,

Thank you for encouraging my learning and I am willing to give this MOM my very best effort. Please bear with me as I have just recently learned which end of the brush to hold.

This is what I have done so far:
1. Gesso'd my canvas according to manufacturer's instructions. (16x20)
2. Captured the digital image and superimposed a grid on it for drawing an outline on my canvas (I am planning to use a "charcoal pencil". Is that okay?)
3. Determined my palette of black, white, cadmium yellow light, cadmium red light, yellow ochre and cobalt blue.
4. Did a computer analysis of the digital image colors which should help with color mixing.

That's where I'm at so far.


11-04-2005, 09:27 AM
Please bear with me as I have just recently learned which end of the brush to hold.

VIC made it here! :clap: Sounds like you got more going for you than you give yourself credit for... :wink2:

(I am planning to use a "charcoal pencil". Is that okay?)
Should be fine Vic but you'll want to fix it with a spray fixative before you paint over it. This keeps it from smearing and muddying the paint as well as coming through the paint. I use this method but usually use vine charcoal for it's ease in correcting mistakes... simply wipe them away with my fingers or rag. Once I get it like I want it I spray fix it and it stays in place just fine.

11-04-2005, 11:55 AM
Tinna and Keya! your Lovers look great!

Hi Rose, my "girl before a mirror" is about an 1/8th done, I have to say that all the lines and geometry in this one is making me dizzy lol :cool:
I'm definately starting to appreciate this piece more now then when i've first seen it.

I'll post a picture when I have a little more completed
back to the dizziness! :)

11-04-2005, 03:00 PM
See you guys Monday... off on a weekend camping trip!

11-05-2005, 02:36 PM
Here's my value study of the girl before a mirror. Approx 14"X18" on gessoed masonite.
Comments and critiques welcomed. :)



11-05-2005, 03:11 PM
Wow, Wow, WOW Mike !! That's wonderful !!

Don't know if I will get to this one this month or not. I'll try to squeeze it in hopefully.

Tinna - thanks for the write up, and thanks Barb to you too !!

Tina (one N tina) :)

11-06-2005, 04:57 PM
serra - “Woman with yellow hair” has turned out quite nice! Good work!
:clap: :clap: :clap:

Vic - It sounds like you are off to a good start!:cool: :cool: :cool:

Mike - The grisaille for “girl in the mirror” is lovely! Your done an exceptional job! :clap: :clap: :clap:

That’s Tina (guillot)! :cat:

11-06-2005, 06:06 PM
Thx Tina, thx Barb :)


11-07-2005, 01:05 PM
Are you going to glaze the color in?

11-07-2005, 03:24 PM
Hey Bernie, how was the November camping trip?

Are you going to glaze the color in?

Yeah, i'm gonna throw a few layers of glazes on there and see what happens. I'm probably gonna change the color scheme a little though. Should be fun to do =)


11-08-2005, 10:28 AM
well after seeing Mike's, I want to burn mine...hehe...

I jumped in with no grid, just paint and a brush, it started looking like a pickel,

yep, a pickel, now it is really in the ugly stage, don't even want to show it unless it starts to grow into something that looks like "the girl" in "the mirror"

It is much harder to get right, very easy to get wrong...

Should have went camping myself, haha, most likely would have put the tent next to a bear cave and got eaten.

11-08-2005, 11:28 AM
Should have went camping myself, haha, most likely would have put the tent next to a bear cave and got eaten.
:D :D :D :D :D :D :D :D :D :wink2:

11-08-2005, 12:58 PM
Good luck, Nickel! Don't forget, Titanium White can work miracles! :)

Barb Solomon :cat:

11-08-2005, 09:01 PM
http://www.wetcanvas.com/Community/images/08-Nov-2005/62407-day1.JPG http://www.wetcanvas.com/Community/images/08-Nov-2005/62407-day1a.JPG Thank you for your encouragement and, as promised, I will share my progress. So far I have sketched the basic elements onto a gesso'd canvas. I have read about underpainting but for the life of me I don't see how that will help.

As I looked at the original, I recognized that the mirror and the girl were obviously the key elements. The reflected image was secondary. So I painted in the outline of the mirror with black and yellow ochre (4:1) because I was seeing the wood of the mirror as dark but not quite black. Then I painted in parts of the girl and the background to the wallpaper. I figured that I could add the wallpaper design elements later. That's about all I got done at that time.

One serious problem that I encountered was the mixing of colors at the interface of two paints (see enlargement).

Stop me now if I'm going too far astray!

Thanks in advance,

11-09-2005, 12:17 AM
Bernie your laughing like you seen that bear I'm talking about,lol!

Thanks Barb for the tip...titanium white...:)

Vic your painting is looking good. I have that problem with wet paint too! :)

So I decide to show you my pickels and an update. Hope you enjoy!


And an update


11-09-2005, 07:59 AM
Everyone is doing great. Nickel you are so funny. I cant stop repeating that, because that is what you are. It doesnt look bad as you think. I see a Picasso!! :)

Son didnt think he could do it. He thinks he cant paint. So, I will drop it off. My hubby is going into hip replacement surgery tomorrow. I already have a lot to do, so I wont be doing the Picasso anymore. His birthday is next month, so I will give him the Dali to hang in his bedroom. Though I am sure he would love to have a Picasso instead. I wish I could catch up with you guys and do it for him.

Anyway, everybody have fun working on your Picasso. :) :) :)

11-09-2005, 10:20 AM
EEEKKKK... :eek: We, the MOM staff team, GOOFED! :eek: :D

Seems Picasso's "The Lovers" is not an oil but a mixed media piece comprised of ink, watercolor and charcoal on paper. :evil:

No worries... we'll paint it anyways... :D
I will change my approach to painting this one however. I will probably paint the lines of the drawing in first and add thin glazes (like watercolor washes) over the areas of color.

One cool thing about the work... Picasso's biographers have identified the couple in "The Lovers" as Picasso and his first great love, Fernande Olivier. :angel:

A great article about the painting by Ron Roth, Director at the Museum of Nebraska Art can be found here:

Vic and Nickel... Your works are looking GREAT! :clap:


Sir Paul
11-12-2005, 03:24 AM
Being my major influence.. this months (my birthday month.. yeah!(Nov 9) Master would definitely be a fun one for me to do... Unfortunately, I have WAAAY too many of my own original works to get to... :(

Being a 'very minor historian' on Picasso though... If I may, I would at least add a few interesting points here...

Picasso would often keep a limited palette... but an ever changing one. (In case anyone was actually attempting to JUST use the palette listed in that article on 'Les Demoiselles' for those later pics.. and was getting frustrated) In the book Brassai did on him,(Conversations with Picasso) Brassaii actually lists the paints that Picasso was buying from a paint manufacturer - and it's a fairly extensive one.. So you can pretty much use whatever you like when tackling his works.

Keya: That video/dvd is 'The Mystery of Picasso'. It's a very fun and interesting tape to watch... (I also Highly recommend John Richardson's 'Picasso: Magic, Sex, Death.') both available on Amazon.

Rosic: You guys didn't goof - actually it's Ron Roth that made the goof... or at least whomever put that picture up on his article. As what he's actually describing in his article (naked with legs entwined) is a wash drawing Picasso did in 1904 known as 'Les Amants' which he did when he first met Fernande.


(Hope the above image doesn't offend any small children out there! hehe..)

Your picture choice here of 'The Lovers' done in 1923 IS in fact an Oil on canvas. It is considered part of his sometimes-called 'Dutchess Period' due to his then splurge into 'high society' under the influences of his then wife Olga Khokhlova. He would have had VERY little use for Fernande's image by this much later point. Though I don't immediately recall the exact identity of the couple depicted there, I would say that the woman very much reminds me.. not of his wife.. - but of 'Sara Murphy'.. the wife of a close friend of Picasso & Olga, whom Picasso fell somewhat in love with and did many drawings/paintings of.

11-12-2005, 09:22 AM
Nickel... Looking FAB!

Sir Paul... thanks for the info... guess you can be our cheerleader.

Here's where I am so far...
12"x18" gessoed hardboard panel with drawing made of thinned Ivory Black with Liquin...



11-12-2005, 02:36 PM
Bernie, great start! You could just leave it like this! The look in the girls eye and the way he is holding her hand, you have the story already told! :) Amazing!

11-13-2005, 06:51 PM
Again, as promised, I am keeping you posted on how my painting is coming. Generally I only get to work on it once a week which seems to be just about enough time to let the previous week's paint dry (a little). Keeping a steady hand and getting my colors right are a continuing problem. Sir Paul's comment that Picasso used whatever was available was reassuring.

Anyway, here's where I'm at. Everybody is by definition more experienced than I, so all help is appreciated.



11-13-2005, 07:56 PM
Great job everyone! Pablo would be proud indeed :) (or pissed at us for copying his work :p )

I'm gonna start adding color to mine sometime this week.


11-13-2005, 10:34 PM
Vic... you have got to be excited with your results so far... I know I am!

Look forward to seeing the color Mike.

Thanks Nickel!


Sir Paul
11-14-2005, 02:43 AM
Vic: Your painting is coming along just fine! (as is everyone elses) However, based on the problems you described (which remind me VERY MUCH of the exact same troubles I had when I started painting) - I could try throwing you a few observations that I've discovered while playing around with this particular style of painting. Of course NONE of what I say is any kind of 'rule' (there shouldn't be too many of those in art anyways!) just a few tips that have seemed to work for me... If any should work for you as well? - Great! If not - just as good... Just keep plugging away at it till you find what does work for you!

Time & obligations elsewhere permitting of course - Don't be too adamant on 'having to wait before paint dries'.. before applying other layers/areas.

Picasso himself often painted many of his paintings from this era pretty much 'alla prima'... Including many of his large famously known ones (like 'Le Reve') When I first started using oils myself, I was VERY AFRAID of painting next to or over still-wet paint. But with a little practice and experimentation, I soon found that it's actually MUUUCH easier than what you might think. Oils are actually very forgiving - though they don't dry fast, they can INSTEAD be shuffled about, erased, or painted over with fair ease. Just be sure to use a fair amount of paint on the brush if you plan on actually covering another layer. Despite that semi-silly nonsense(to me) I read somewhere else here about 'Jam over Peanutbutter' - You cannot expect to actually 'COVER' a good strong layer of paint with what amounts to the equivalent of a glaze (it won't work - and will result in a mess, or the paint beneath showing through easily)... Plus it can possibly cause some problems with the 'fat over lean' rule. In 'Alla Prima' that rule isn't always quite as much a problem... but you never know. Best to always try and follow it anyways. In short - thicker more opaque paint covers other paint better than thinner transparent ones.. (and if you NEED the color of a transparent paint to go over another and cover it? - Make it opaque first - by blending it with a light grey or some other appropriate color that works. (pure white tends to 'cool' colors a bit too much, so be careful with just using that to make a paint more opaque.)

It is also usually a little easier to cover a darker area with a lighter one. - You CAN certainly do the reverse, but light over dark does tend to go a little better most of the time. So PLAN AHEAD on the order in which you want to place paints to make it easier when doing things more or less Alla Prima.
Another important thing I could add to this same topic - experiment with your brushes! Both the brush, and the way you handle it when layering paint can be very important. Sure a 'FILBERT' is said to have a nice soft edge to it.. (& a Bright a sharp precise one) But if either of these brushes are of an ecceptionally STIFF variety (hoghair or stiff synthetic for instance) Both can act far more like SHOVELS than brushes - digging into the lower layer of paint and making a mess as you try to layer over it (even when using the flat side of the brush as you should when layering over).... So try and experiment with a variety of different brushes (& brush textures) for different jobs, and you'll soon discover what'll work best for you in each instance.

One other little tip I could pass along that can make this type of painting style MUCH easier - I noticed while looking at a picture of 'Girl Before A Mirror' in a book, that there is an awful lot of black(or dark) line-work throughout the ENTIRE pic, (even within that reflection!) encompassing many of the colored areas (as is true of many Picassos of this particular style.)
Picasso was usually much more interested in the drawing or STRUCTURE of his pictures than with the colors. To him, the colors were often almost more of an afterthought (as stated in one of his famous quotes) and more often than not (as verified by several photographs) - he usually did all of these dark line areas(the drawing) FIRST before applying colors. (Not always - but often)

So one thing you can do to make this type of painting much simpler - Apply all of the linework, or dark areas FIRST... making sure it is all placed exactly right... and then LET THAT PART DRY. Then once that bit has dried, all that is usually left for the most part is the colored areas - which can now be applied EASILY and VERY SAFELY in -between all the now dry dark linework. (You can also certainly re-emphasize the lines along with the colored areas at this time.. should you want to correct any small mistakes, or make them 'thicker' along with the rest. I usually do.)

Yes... It almost makes it seem like 'paint by numbers' doing it this way (lol) But after all, painting isn't easy... so it's your job to make it easier on yourself by any means possible that works.
This was the very same way I went about my very own 'Girl With Hat' on the 'What's On Your Easel' thread for November (page 6) - I did all of my initial line-work first... let it dry(worked on another pic while I waited)... then spent only one other painting session putting in all the colors. 2 days of work... & viola!

Another thing I could add to this section - you're right in your observation before about seeing little use for a full out 'underpainting' in this style... Picasso pretty much painted directly during this period, and usually fairly thickly (so be generous & think 'thickly & slightly textured' - rather than 'wishy-washy. Wishy-washy's usually make for poor Picassos!) - BUT, that said - you may also consider (along with the line business I described above) initially putting a thin grey wash (lead-white based if fast drying preferred) in any areas that will be WHITE. - As painting a nice thick even layer of ultra WHITE over a BONE WHITE CANVAS.. can be a bit tricky. (found that out myself the hard way) So if your not into tinting your entire canvas before you start painting - at least put a little color in the areas that are going to be white in the end - to be better able to judge them later.
As for large black areas on the other hand?... well, you can tackle those however you see fit (I usually apply a thin layer along with all the lines, and then later apply a second thicker layer (with a touch of stand oil included) when I apply the rest of the colors later) works for me. One last thing on that - DON'T use Ivory black by itself in large areas.. It has a tendancy for cracking later if you use it that way. Instead, mix your own, or use it in tandum with another color to make it stronger (I often like a mix of ivory/lamp/and a touch of transparent red ochre or Ultramarine myself. Gives a fairly lustrious 'black' mix.)

The very last thing I could add to this concerns your 'shaky hands'. I myself have hands that have a tendancy to shake a bit (I have long slim hands, & a slight case of arthritis runs in the family) When I first started painting - I was CONVINCED that I would NEVER be able to paint - being that my hands tended to shake too much! Of course much of it is simply nerves.. and with practice you will find yourself getting much steadier. (I did) But one thing I could DEFINITELY recommend (if you haven't already done so) is getting yourself a 'Maul Stick' to help steady your arm. Often you can find a pre-made one in many art stores (don't bother with the thin metal ones though) But I would also recommend just making your own by getting a 1-inch(or slightly less) thick dowel stick, a few feet in length (I got mine at Dick Blick - but even a home-repair store will do) and rubber-banding a few artist shamee's to the end of it (making a nice soft little ball on one end). It works wonders... esp. if you plan on tackling any larger canvases. Just keep in mind to PLAN your painting out a bit while using one... For instance, I'm left-handed... so I often place the (soft)end of my stick on the upper-left side of my canvas... so it often makes sense for me to paint THAT area first (& letting it dry) or last. If your right-handed? - Naturally, the opposite would often be the case. Work the picture in an order that makes it much easier for you to work the whole thing without having too many problems with 'messing it up'. Planning ahead is always a huge plus!

Hope some of this helps! Good painting!...


11-15-2005, 12:56 AM
[http://www.wetcanvas.com/Community/images/15-Nov-2005/39040-sockmonkie.gifHappy Birthday Tinna!!! http://www.wetcanvas.com/Community/images/15-Nov-2005/39040-10cakecp.gif

Best wishes to you!!!!Nickel

11-16-2005, 09:41 AM
Picasso was usually much more interested in the drawing or STRUCTURE of his pictures than with the colors. To him, the colors were often almost more of an afterthought (as stated in one of his famous quotes) and more often than not (as verified by several photographs) - he usually did all of these dark line areas(the drawing) FIRST before applying colors. (Not always - but often)

Hope some of this helps! Good painting!...

Cool... because this is the approach I'm taking... :D

Thanks Paul!

Happy belated Birthday Tinna! :clap:

11-17-2005, 01:16 PM
Thank you, Paul!

I am overwhelmed by the encouragement that I am receiving here at WetCanvas! I know that the majority of members are highly skilled artists and your insights, which I know were slowly and perhaps painfully acquired, are very much appreciated. I am very impressed with the length of your response and I know that took more than a little bit of time. Again, thank you.

Time constraints cause me to be a "weekend painter" and I'm looking forward to applying your pointers in few days. I have bought some new brushes (Loew and Cornell which Bill Martin seems to like) and I'm in the process of making a homemade Maul stick.

I have found that I have to add a few drops of linseed oil to the Ross paints because they seem so thick. Without the extra oil, it feels like peanut butter.

My work (and life) is stressful and, in a strange way, my time alone with my canvas is a real respite. It's something I look forward to every weekend.

On behalf of all us newbies,

Thank you


11-17-2005, 06:30 PM
I am overwhelmed by the encouragement that I am receiving here at WetCanvas!

Thank you

Vic... I just knew you'd enjoy the MOM project! Hope you join me next month for the Fechin... ;)

11-20-2005, 04:14 PM
Hi to all,

I spent the day 'cleaning up' lines and color which doesn't warrant a new image upload. After the Thanksgiving weekend I'll finish it up and show you the final product.


11-21-2005, 11:06 AM
I started off wanting to do a grisaille underpainting and the plan was to add quite a few layers of thin glazes on top. But since I wont have the time for that, I decided to experiment with only 1 layer of color and to make it as thick as I possibly can, adding just enough linseed oil to make the paint move.
I discovered something that I seemed to have overlooked in the past, that is, you need PAINT to be able to PAINT. I was painting with layers so thin (to try to save paint) that I think I was painting with like 95% medium and 5% pigment =O......anyways....I just found it quite enjoyable painting this thick....I had to share my revelation lol
Below is the result of my efforts....I tried not to dull most colors with its compliment as I normally do......and tried keeping a mixture of hard and soft edges which I think creates interest.
Thx for looking =)


11-21-2005, 05:47 PM
Mike... this is very impressive!

Vic... I'll see yours next week.

I hope to work on mine this weekend as well.


11-22-2005, 02:18 PM
Thx Bernie :) Look forward to seeing yours come alive.


Sir Paul
11-25-2005, 03:26 PM
Mike - That's a great painting! One I'd be quite proud to have on my wall.

I definitely agree with you on the use of a thicker paint for this type of painting. I've seen many Picasso's in person from this era, and most of them have QUITE a good 'healthy' layer of paint... It just look much better, and gives the painting a real solidity & value. (Not to mention - a REAL value(cost) on all the paint that is used!)
As Helen Van Wyk mentioned in one of her books - whenever she forced her students to use 'painting knives', their paintings always ended up looking MUCH better than usual.. (simply because they ended up using more paint) Even good layered paintings are not going to be ALL thin... but are usually a combination of thin(in the darks) & thicker(for the lighter areas) as oil paintings do catch light on their thicker areas... It adds to the illusion on those types of paintings.
(For the record: I like to use just a tiny touch of turpentine (the real thing - NOT petroleum thinners) to make my thicker layers a bit more fluid. Works great, and keeps the paint layer pretty healthy. Sometimes I don't even do that, but may use the paint straight - if it's fluid enough to brush about. If I need an oil, I tend to use a bit of diluted(with turp) Stand oil. But you always got to be careful not to add TOO much oil/vs paint.. That can possibly lead to yellowing/cracking issues in the future... or so I've heard..)

Most of you probably caught these already, but for fun I'd point out Picasso's 'playfulness' with the human form. At first, Marie Therese here looks like she might be pregnant. Esp. in the reflection. But actually it's just Picasso's depiction of her being seen from both the FRONT and the BACK at the same time. The 'breasts' and upraised arm holding the mirror is also a little pun - on male genitals.

Yeah, good 'ol Pablo - even a little 'dirtier' than ya thought! (lol)

11-26-2005, 11:14 PM
Thx Sir Paul, I had a great time painting that one. I just stocked up on some 200ml paint tubes, I think i'm going to be painting a lil' thicker in the future, that's how much I enjoyed it!
Are you going to be joining us in the future for a MOM project? would love to see some of your renditions.

I also just finished watching the film Modigliani, where Omid Djalili plays a great Picasso. It was inspiring to see both rivals at work again =) Get that movie everyone!!

Now, if I could only find out what to do with all these past MOM paintings of mine, anyone know if there are copyright laws preventing me from selling any of these? Lets say on eBay?

How's everybody's Picasso's coming along? Nickel? Bernie? Vic?

Look forward to all your updates!


11-26-2005, 11:23 PM
How's everybody's Picasso's coming along? Nickel? Bernie? Vic?

Look forward to all your updates!

Mike... worked on mine some today and hope to work more tomorrow. Promise an update soon... my wife and middle daughter went on a three day cruise and took the camera... :eek:

Sir Paul
11-27-2005, 12:51 AM
Mike - Thanks! I'm afraid Probably not. I think the tried and true method of copying from past masters is probably the best way to learn and pick up new techniques/ideas (I highly recommend it, and did a few in school myself) ..but I've got too many images of my own to get to (more than I can even likely paint) ..so doing a copy from someone else these days would make me too 'antsy'.
My own method's slightly different. If I like someone's style, I study it as closely as possible, and even read all I can on that particular persons technique(when available) - and then try and apply it directly to my own ideas.

That said, the very first oil painting I did was a copy of Picasso's 'Large Petestal Still-life' (actually a 'hidden portrait' of the same girl - Marie Therese) which I think I have shown on the oil forums 'What's On Your Easel Nov 2005'(page 6 I think)
(I didn't do it this November though - actually 8 months ago)
..as well as two original 'Women in armchair' of my own (that I DID do this month) based on his style, hidden somewhere on there as well...

Sir Paul
11-27-2005, 01:14 AM
My second portrait on there, 'The Actress', is on page 14 of that same thread.
You might notice something funny about it - I STOLE the yellow jug from Pablo's 'Petestal Stilllife' pic... and applied it to my own.

THATS something you can also try sometimes.. taking elements from other artists... and reapplying them in a different way in your own pics.

Or as Pablo himself was quoted as saying once: "Whenever there's anything to steal, I steal!" ;O)

11-27-2005, 04:38 PM
Hi All,

Well, I finished my version of "Girl in the Mirror" and this was quite a learning experience. I'm still struggling with the basics--brush selection, paint manufacturer, 'wet into wet' ,etc., but I think things are coming along.

I am humbled by the work I see posted here. You guys are great.

Perhaps I am game for the next MOM. Perhaps....




11-27-2005, 04:41 PM
Congrats Vic! you did a great job. Hope to see ya next month.


11-29-2005, 01:11 PM
Hi Nickel, yikes! that was quite the action packed photo session you had. Sorry to hear about your now broken camera. Hope you can get it fixed or replaced so you can continue posting your paintings. Nice finish on Broken Eye Girl. I like your color scheme.
Are you in for Fechin next month? :)


11-29-2005, 01:22 PM
Btw, has the list for the MOM's 2006 been created yet? I look forward to painting alot in '06 :cool:

11-29-2005, 06:14 PM
Hi Mike, just call me action girl, or the bull in the china shop :)
Glad you liked the color scheme!:)

I plan to do Fechin next month as a lot of others do I'm sure. It is difficult to find much information on his techniques. It will be interesting to participate.

Bernie should be able to give an update for MOM 2006.

I hope we still have MOMS!!!!:wave: Nickel

11-29-2005, 06:54 PM
I plan to do Fechin next month as a lot of others do I'm sure. It is difficult to find much information on his techniques. It will be interesting to participate.
You are so right... I have had a devil of a time finding info about Fechin. Got some good stuff though... I think you'll be pleasently surprised (thanks to Richard, Pavel, and Cathleen's help)!

Bernie should be able to give an update for MOM 2006.

The staff shortage of late has slowed getting the list finalized but we hope to have it all together before the new year for your enjoyment. We will be calling on some of you MOM Regs to give us a hand in hosting them. :evil: One cool thing... we plan to include two works per master along with a reference from the library to paint in the style of for those wishing to create their own personal work.

BTW... Mike and Vic... BRAVO!!!!!!!!!!!!!!!!!!!!!!!!!!!!:clap: :clap: :clap:

Mike's a reg so I know what he thinks of the MOM project...
Vic... How did you enjoy the project?... Do you plan to do the Fechin in Dec.?


11-29-2005, 09:36 PM
Vic... How did you enjoy the project?... Do you plan to do the Fechin in Dec.?


I had a great time with this project and I think it turned out far better than I imagined at the start.

The Fechin, however, is way over my head and they didn't cover portraits in my Bob Ross class. Still I believe that one doesn't learn without accepting challenges so I will attempt part of the Fechin, namely the face and hands.

My aim will be to do a very good charcoal sketch and then try to get the basic values right.

After the sketch, however, I'm at a loss to know what to do next. I'll be asking for lots of advice and help.


11-29-2005, 10:35 PM
I had a great time with this project and I think it turned out far better than I imagined at the start.

The Fechin, however, is way over my head and they didn't cover portraits in my Bob Ross class. Still I believe that one doesn't learn without accepting challenges so I will attempt part of the Fechin, namely the face and hands.

My aim will be to do a very good charcoal sketch and then try to get the basic values right.

After the sketch, however, I'm at a loss to know what to do next. I'll be asking for lots of advice and help.


I am glad you had fun Vic. Don't worry Bernie will be there to help! Mike too I think, and me, lol. That's the fun of doing studies of masters!!! To me it is all about learning and sharing the experience with each other, it is not about doing a perfect copy cause if it was, they wouldn't let me on the site. Glad you'll be here for Fechin!!!!


11-29-2005, 10:38 PM
One cool thing... we plan to include two works per master along with a reference from the library to paint in the style of for those wishing to create their own personal work.

Bravo Bernie! That is a great idea!!!! :wave:

11-30-2005, 02:49 PM
Hi everybody.

Sorry, I haven't posted anything until now. But I've followed the thread with great interest.

Vic, Mike and Nickel. What great paintings you guys have done. :clap: :clap: I I would definately hang them on my wall and be proud if I had done them. To be honest, I didn't do that painting cause I thought it would be to difficult for me to do and that I wouldn't manage to finish it within the month.

Well it's the last day of November and I'm almost finished with my painting. C& C are welcome. I think I got the face expressions right. But I need to add more shades to the faces and finish the ear on the woman.

It has been fun to follow this thread with you guys.



11-30-2005, 10:40 PM
Hi Keya:wave:

It is so great that you posted your painting!
I think you have a terrific painting!

There are no rules in finishing by the end of the month!

Sometimes life just gets in the way of painting;)

You really did a great job at their expression! Very Sweet!

Come and join us in Dec's MOM if you can!!

Best to you Nickel

12-01-2005, 12:01 AM
Nicely done Keya! You've captured their moment very well.
I really like your painting, thx for sharing =)


12-01-2005, 05:00 AM
Thanks Nickel and Mike. You're so sweet. Too bad there isn't a smilie for kiss or hug.

I don't think I'll be joining in December MOM. Have to concentrate on finishing my current paintings.


12-01-2005, 09:00 AM
Keya... IMPRESSIVE! Glad you shared this with us!:clap:

Well... I finally finished...
Will share some thoughts on it when I get time today...


12-01-2005, 09:53 AM
Bernie - Your Picasso looks absolutely fantastic! You really did a great job with it!

Barb Solomon:cat:

12-01-2005, 10:33 AM
Nice work Bernie! I love your choice of greens and yellows.


12-01-2005, 12:15 PM

I have to agree with everyone. Your rendition is fantastic and your talent is enviable. :clap:

Can you briefly tell me what were your major steps along the way?


12-01-2005, 03:04 PM
Can you briefly tell me what were your major steps along the way?

Hey Vic... to be honest with you there were no major steps... well four at the most...:evil:

#1... primed the panel, drew and fixed simple sketch.
#2... using ivory black and Liquin I outlined all the dark sketch lines shown on the original.
#3... filled in the drawn areas with the appropriate colors... kinda like coloring. While the paint was still wet I wiped away the areas that were light (like the folds in the curtain and on her arm) with a small rag.

Blues = Cobalt blue + titanium white
Greens = Mostly sap green and a little veridian
Reds = cad red + cad orange + titanium white
Yellows = cad yellow + lemon yellow
Purples = dio? purple + azil crimson + white
Grays = ivory black + white + yellow ochre
Hair = burnt umber, burnt sienna, raw umber

I used Liquin as a thinning medium to apply the paints with.

#4... Once dry (which was quick... 24 hours because of the Liquin) I had to outline some of the black lines again... especially the facial features.

I didn't really enjoy this MOM as much as the others... seemed to easy... almost felt like I was working in one of those watercolor coloring books we used to paint in when we were kids.:(

No such luck with the Fechin... going to be a learning experience for sure.

Thanks Vic, Mike, and Barb!:clap:


12-01-2005, 07:41 PM
Thank you. This actually helps. So objects or parts of objects that are closer to the viewer are lighter in value while those further away are darker. "Light and shadow". Okay, I think I'm getting it.:cool:

This was a pretty easy project but newbies like myself needed something to build confidence. Now I can boldly challenge myself for something much harder. I've been studying the Fechin and anticipating the steps I will take.



12-01-2005, 10:51 PM
I've been studying the Fechin and anticipating the steps I will take.

That's what I wanted to hear! Now log in on the thread so we can egg ya on!:evil:

12-02-2005, 05:11 AM
Bernie, I love your painting! The colours are wonderful. It was interesting to see your colour mixes.


12-02-2005, 08:49 AM
Thank Keya... I really like yours as well.

12-19-2005, 01:55 PM
There was an article in my Sunday newspaper about a young high school couple that won 1st place in the Stuck at Prom Scholarship Contest. This contest challenges the contestants to fashion formalwear entirely from duct tape. The 1st place winners clothing was inspired by "Girl Before a Mirror" by Piccaso. They are so cute as also are the runner-up. Thought you might like to look at their outfits. They are cute as buttons:D



01-10-2014, 12:59 PM
If you ever find yourself in Malaga, give the Picasso Museum there a miss... If you end up in Barcelona though, do not leave without seeing their collection - It's probably one of the best laid out exhibitions I've ever seen. A true testament to his incredible skill.