The Frugal Meal — Pablo Picasso (Spanish, 1881–1973); Louis Fort (French, active 1800s–1900s); Ambroise Vollard (French, 1867–1939)September 1904, printed 1913
Also by Pablo Picasso (Spanish, 1881–1973); Louis Fort (French, active 1800s–1900s); Ambroise Vollard (French, 1867–1939)
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SaloméPablo Picasso (Spanish, 1881–1973); Louis Fort (French, active 1800s–1900s); Ambroise Vollard (French, 1867–1939)1905, printed 1913Cleveland Museum of ArtThe Mother at Her ToilettePablo Picasso (Spanish, 1881–1973); Louis Fort (French, active 1800s–1900s); Ambroise Vollard (French, 1867–1939)1905, printed 1913Cleveland Museum of ArtThe PoorPablo Picasso (Spanish, 1881–1973); Louis Fort (French, active 1800s–1900s); Ambroise Vollard (French, 1867–1939)1905, printed 1913Cleveland Museum of ArtAt the CircusPablo Picasso (Spanish, 1881–1973); Louis Fort (French, active 1800s–1900s); Ambroise Vollard (French, 1867–1939)winter 1905–6, printed 1913Cleveland Museum of ArtHead of a Woman: MadeleinePablo Picasso (Spanish, 1881–1973); Louis Fort (French, active 1800s–1900s); Ambroise Vollard (French, 1867–1939)1905, printed 1913Cleveland Museum of Art
Within fifty years of September 1904, printed 1913
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Venetian AtmosphereStyle of James McNeill Whistlern.d.The Art Institute of ChicagoIt Rocks but is Not SunkCharles Meryon1854The Art Institute of ChicagoStudy of elm treeWilliam Trost Richards, American, 1833–1905July 1854Cooper Hewitt, Smithsonian Design MuseumChocorua Pond, New HampshireDaniel Huntington, American, 1816–1906September 1854Cooper Hewitt, Smithsonian Design MuseumArtist's BrookHenry Hitchings, American, d. 19021854Cooper Hewitt, Smithsonian Design MuseumStudy of Landscape, Hudson River, NYWilliam Stanley Haseltine, American, 1835–1900ca. 1854Cooper Hewitt, Smithsonian Design MuseumButtonUnknown1854–70Cooper Hewitt, Smithsonian Design MuseumPart of a triptych: man with a parasolUtagawa Kunisada, Japanese, 1786 – 18641854Cooper Hewitt, Smithsonian Design Museum
But in the work of another great artist in Paris, the Spaniard Pablo Picasso, there is never any suspicion of this conventional beauty. Tossed hither and thither by the need for self-expression, Picasso hurries from one manner to another. At times a great gulf appears between consecutive manners, because Picasso leaps boldly and is found continually by his bewildered crowd of followers standing at a point very different from that at which they saw him last. No sooner do they think that they have reached him again than he has …
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Made in the twentieth century, like The Frugal Meal.