Cover image for Picasso, the sculptures
Picasso, the sculptures
Spies, Werner, 1937-
Personal Author:
Uniform Title:
Picasso sculpteur. English
Publication Information:
Ostfildern/Stuttgart, Germany : Hatje Cantz, [2000]

Physical Description:
437 pages : illustrations (some color) ; 33 cm
General Note:
Published in conjunction with the exhibition Picasso sculpteur held at the Centre national d'art et de culture Georges Pompidou, 7 June-25 September 2000, with the collaboration of the Musée Picassso, Paris.

Translation of: Picasso sculpteur.

Based on: Picasso, das plastische Werk / Werner Spies. 2., revid. und erg. Aufl. Stuttgart : Hatje, c1983.
Added Corporate Author:
Format :


Call Number
Material Type
Home Location
Item Holds
NB553.P45 S6413 2000 Adult Non-Fiction Non-Fiction Area-Oversize

On Order



For years Pablo Picasso's sculptural oeuvre was one of the best-kept secrets of 20th century art. It was only through retrospectives in Paris, London and New York during the 1960's that Picasso the sculptor became known to a larger public*who discovered a complexity and variety in his sculptures that easily rivals that of his paintings and drawings. "Pablo Picasso: The Sculptures" is catalogue raisonnª of Picasso's sculptures, a seminal work informed by conversations between the author, Picasso specialist Werner Spies, and Picasso himself. The present edition has been thoroughly revised and now includes numerous color illustrations of important pieces. In all this volume features over 740 works by the artist, ranging from miniature paper figures to constructions from metal, wood, and found objects, from folding sculptures made from tin to massive, at times monumental works. A definitive statement on Picasso's sculptural oeuvre, this book provides a key to understanding and appreciating works that, in their ingenuity and their inventiveness, still provide an inexhaustible source of inspiration for today's artists.

Author Notes

Werner Spies has been a professor of 20th century art since 1975 at the Kunstakademie in Dusseldorf. He is head of the Musee National d'Art Moderne at the Centre Pompidou, Paris and is the editor of the Max Ernst catalogue raisonee. He has gained international recognition for his work as a critic and essay writer.

(Bowker Author Biography)

Reviews 2

Library Journal Review

For those who believe that enough books have been published on the master, consider Picasso's claim that a book would have to be written every day in order to encompass his innovations completely. Two catalogues raisonns and one "ultimate" overview highlight this season's bounty of Picasso monographs. In the comprehensive catalog of Picasso's lithographic oeuvre, prints are presented as an important part of Picasso explorations from the time of his first lithograph in 1919. In the book's main text, Erich Franz (In Quest of the Absolute, Peter Blum, 1996) offers a convincing if brief examination of Picasso's personal affinity for printmaking. Franz emphasizes the visual processes we experience when taking in an image, pointing out that a "fundamental difference between the print and the drawing is that the print exhibits greater pictorial homogeneity." Indeed, Picasso was interested in our ability to "tell that the image has been applied to the paper as a whole, in a single motionDas a print." The catalog portion gathers the artist's 855 lithographs for the first time, offering most in quite large, full-color reproductions on heavy paper. The book concludes with an interview with lithographer and Picasso collaborator Henri Deschamps. A fine addition to large and medium art collections. Labeled a "well-kept secret" by SpiesDPicasso wasn't officially recognized as a sculptor until the first retrospective in 1966DPicasso's sculptural body of work, like his painterly innovations, remains extraordinarily influential. His use of everyday materials and even refuse, the importance of the figure, and his affinity for what was considered folk art are hallmarks of his long engagement with the form. To coincide with the 2000 exhibition at the Centre Pompidou, Spies revised the text of his 1971 book Picasso: Das Plastische Werk and combined it with an expanded version of the 1983 catalogue raisonn. The official 800-piece catalog is presented in small black-and-white images in the back of the book. But a wealth of large, fine color reproductions accompanies the analytical text, made up of nearly 60 essays examining topics ("Mask and Formal Variation") and individual pieces ("Seated Woman of 1902"). Spies's scholarship here is impeccable, drawing attention to the artist's highly experimental works. Essential for large art collections and recommended for medium art collections. The Ultimate Picasso aims to impress with its over 430 lavishly illustrated pages detailing the progress of his life and works. Picasso scholars Brigitte Lal, Christine Piot, and Bernadac divide up his life in three sections. On the whole, the emphasis is squarely on painting, and even many major works are given but a small paragraph. The authors are striving for an accessible overview rather than detailed scholarship, and their comprehensiveness is impressive; readers of all levels will be rewarded. An enchanting photographic chronology of the artist's life, a detailed list of the 1185 illustrations, a rather dated bibliography, and a skimpy index round out the book. The goal of this volume appears to be to eliminate the need for shelves full of Picasso books, and small to medium general libraries in need of an up-to-date analysis will be satisfied with this offering. But even large general collections and art libraries will find this to be a useful addition.DDoug McClemont, New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Many European experts of modern sculpture believe that the innovations and creations of Picasso establish his importance as the finest sculptor of the 20th century. This catalog to the Centre National d'Art et de Culture Georges Pompidou monographic Picasso exhibition is exceptional. It is perhaps most important primarily as an up-to-the-minute catalogue raisonne to Picasso sculpture, an updated version to Spies and Piot's Picasso, das plastische Werk (Stuttgart, 1983, 1998). A number of unknown Picasso sculptures are introduced here, as well as the latest changes in technical scholarship on dates, etc. There are more than 650 small black-and-white reproductions in the catalog, unfortunately, with 16 photos per page, lacking detail and the sense of actual scale. (The advantages of new digital photographs for CD-ROMs would have been inestimable.) Overall, there are 1,220 illustrations, including studio photographs, comparative images, and 192 color reproductions. The magnitude of the totality of chronologically arranged illustrations and precise captions cannot be underestimated for current and future scholarship. Instead of chapter essays there are about 60 informative discussions, many dwelling on works in a series. The full-page color plates are stunning, quite like electronic imaging, highly useful, only steps away from the aesthetic of the works themselves. Highly recommended. General readers; graduate students through professionals. M. Hamel-Schwulst; Towson University