http://csdll.cs.tamu.edu:8080/picasso/

Picasso, Sketch of Parthenon Pediment Cast, 1893-94. Reproduced in Zervos, 6, Supplement 1-5.

Picasso, Drawing after Velazquez’s Las Meninas, 1897-98. Museo Picasso, Barcelona.

Picasso, copy after a Capricho by Goya, 1898. Museo del Arte, Barcelona.

Portrait of Gertrude Stein, 1906, (oil on canvas,100 x 81.3 cm), The Metropolitan Museum of Art, New York

Autoportrait à la palette (Self-portrait with palette) Paris, summer~fall, 1906.

(oil on canvas. 92 x 73 cm.)The Philadelphia Museum of Art.

1906 1907

Les Demoiselles d'Avignon, 1907, (oil on canvas, 243 x 233.7 cm),Museum of Modern Art, New York

Les Demoiselles d'Avignon, Study, 1907, (drawing [pencil and pastel] 47.7 x 63.5 cm), Kupferstichkabinett, Basel.

Picasso, Study for Demoiselles d’Avignon, 1907

Picasso, Portrait of Ambroise Vollard, 1910, (oil on canvas 91.5 x 59 cm), Pushkin State Museum of Fine Arts, Moscow

R: Portrait of Ambroise Vollard, 1915, (pencil drawing, 46.7 x 32 cm), Metropolitan Museum of Art, New York 

"Ma Jolie". Paris, winter 1911-12. Oil on canvas, 39 3/8 x 25 3/4" (100 x 64.5 cm), Museum of Modern Art, New York

Analytic cubism

“Picasso’s new method made it possible to ‘represent’ the form of objects and their position in space instead of attempting to imitate them through illusionistic means. With the representation of solid objects this could be effected by a process of representation that has a certain resemblance to geometrical drawing. This is a matter of course since the aim of both is to render the three-dimensional object on a two-dimensional plane. . . . [H]e can show it from several sides, and from above and below.”

—Daniel-Henry Kahnweiler, 1920

"Ma Jolie". Paris, winter 1911-12. Oil on canvas, 39 3/8 x 25 3/4" (100 x 64.5 cm), Museum of Modern Art, New York

Guitar, March 1913, Cut and pasted newspaper, wallpaper, paper, ink, chalk, charcoalAnd pencil on colored paper. 26 1/8 x 19 ½” - MoMA

Synthetic cubism

“At this point Braque’s introduction of undistorted real objects into the painting takes on its full significance. When ‘real’ details are thus introduced the result is a stimulus which carries with it memory images. Combining the ‘real’ stimulus and the schemer of forms, these images construct the finished object in the mind.”

—Daniel-Henry Kahnweiler, 1920

Picasso, Guernica, oil on canvas, 1937, cm 349 x 776 (137 x 305 in) Madrid, Museo Nacional Reina Sofia