Simple yet haunting, The Actor is the work with which Picasso ended his obsession with the wretched in favor of the theatrical world of acrobats and saltimbanques. Although the attenuated figure and extraordinary play of hands recall the El Greco-inspired mannerism of the Blue Period, The Actor can be seen as the prologue to the series of works that culminates in the enormous canvas Family of Saltimbanques (1905, National Gallery of Art, Washington, D.C.).
The new subject matter, palette, and sensibility of this picture coincide with the arrival of Picasso's new lover, the model and sometime artist Fernande Olivier (1881-1966). A sheet of studies for The Actor, made around New Year's Eve 1904, includes two profiles of Fernande and shows the same correction to the placement of the actor's left leg and foot that is visible in the painting.
Picasso painted The Actor on the back of a previously used canvas, on which another, unidentified artist had painted a landscape with swirling water. Recently, a Museum visitor accidentally fell into the picture, tearing the canvas at the lower right margin. It has since been repaired.
Frank Burty Haviland, the wealthy Franco-American painter whose brother, Paul, backed Alfred Stieglitz's New York gallery, 291, was likely the first owner of this work. It was given to the Museum by the automobile heiress Thelma Chrysler Foy.

Signature: Signed, lower right: Picasso

Inscription: Inscribed on verso in blue crayon on horizontal stretcher bar at center (in another hand): Picasso/ 4019; on vertical bar at center: 1443; in lighter blue crayon: PH 4014; in graphite: H4 (?)

Frank Burty Haviland, Paris and Céret (likely acquired from the artist, ca. 1905 – 1912; sold through Joseph Brummer); [likely Brummer Frères, Paris, in co-shares with Haviland; stock no. xk21, sold in April 1912, to Feldmann]; [likely Rheinische Kunstsalon (Otto Feldmann), Cologne, April 1912; sold to Leffmann]; Alice and Paul Friedrich Leffmann, Cologne and Fribourg (1912 – June 1938; the canvas was left in the care of Professor Dr. Heribert Reiners, in Fribourg, Switzerland by September 7, 1932; sold through Käte Perls); [Galerie Käte Perls, Paris, acting as agent for Leffmann, 1937-1938]; [Hugo Perls, Paris, then New York, bought 1/3 share with Rosenberg, June 1938 – November 15, 1941; sold through Rosenberg]; [Galerie Paul Rosenberg, Paris; and Rosenberg & Helft Gallery, London; then Paul Rosenberg & Co., New York, bought 2/3 shares with Perls, June 1938 - November 15, 1941; stock no. 4014; sold to Charles Henschel of Knoedler]; [M. Knoedler & Co., New York, 1941; sold to Mrs. Chrysler Foy]; Thelma Chrysler Foy, New York (1941 – 1952; her gift to the MMA, 1952)

“Internationale Kunst-Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler.” Städtische Ausstellungshalle, Cologne, May 25–September 30, 1912, exh. cat. with foreword by Dr. R. Reiche, no. 216, p. 40, & ill. pl. 28 (as Schauspieler).

“Pablo Picasso.” Rheinischer Kunstsalon (Otto Feldmann), Cologne, March-April 1913, exh. cat., no. 5 (as Der Schauspieler); likely also traveled to Prague, 1913.

“Herbstausstellung.” Ausstellungshaus der Sezession am Kurfürstendamm, Berlin, December 1913, exh. cat., no. 160 (as Der Schauspieler).

“Kunst in Kölner Privatbesitz.” Kölnishe Kunstverein, Cologne, mid-February-end March, 1916, exh. cat., no. 78 (as Der Schauspieler).

“Moderne Kunst aus Kölner Privatbesitz,” Kölnische Kunstvereinin, Cologne, January 1929. No catalogue.

“Picasso: Forty Years of His Art.” Museum of Modern Art, New York, November 15, 1939-January 7, 1940, Art Institute of Chicago, February 1-March 5, 1940, City Art Museum, St. Louis, March 16-April 14, 1940, Museum of Fine Arts, Boston, April 26-May 25, 1940, San Francisco Museum of Art, June 25-July 22, 1940, and Cincinnati Museum of Art, September 28-October 27, 1940. Catalogue with preface by Alfred H. Barr, Jr., no. 29, pp. 37, 39 (ill.).

“Aspects of French painting from Cezanne to Picasso.” Los Angeles County Museum, January 15 to March 2, 1941, exh. cat., no. 31, p. 18 (ill.).

“The World of Balenciaga.” Metropolitan Museum of Art, New York, March 21–September 9, 1973. Catalogue; hors catalogue.

“Picasso: A Loan Exhibition for the Benefit of Cancer Care, Inc., The National Cancer Foundation.” Acquavella Galleries, New York, April 15-May 17, 1975. Catalogue, ill. n.p.

“Pablo Picasso: A Retrospective.” Museum of Modern Art, New York, May 22–September 16, 1980. Catalogue edited by William S. Rubin, with intro by Dominique Bozo and chronology by Jane Fluegel, pp. 54 (ill.), 56; and typed checklist, p. 9.

“Painters in Paris, 1895–1950.” Metropolitan Museum of Art, New York, March 8–December 31, 2000. Catalogue by William S. Lieberman, pp. 20 (ill.), 124.

“Picasso in The Metropolitan Museum of Art.” The Metropolitan Museum of Art, New York, April 27-August 1, 2010. Catalogue edited by Gary Tinterow and Susan S. Stein, with essays and entries by Magdalena Dabrowski, Lisa M. Messinger, Asher Ethan Miller, Marla Prather, Rebecca A. Rabinow, Sabine Rewald, Samantha Rippner, and Gary Tinterow, technical notes by Lucy Belloli, Shawn Digney-Peer, Isabelle Duvernois, Rachel Mustalish, and Kendra Roth, and documentation by Christel Hollevoet-Force, no. 23, pp. 12, 64-65 (ill.), 66-67, 68, 74, 172 (as The Actor; essay by GT).

Hans Hildebrandt, “Die Frühbilder Picassos” (review of Munich 1913 & Cologne 1913), Kunst und Künstler, vol. 11 (1913), p. 378 (as Der Schauspieler).

Anonymous, “Kunst Wissenschaft und Leben” (review of Cologne 1913), Kölnische Zeitung (March 27, 1913), p. 1 (as Schauspieler).

Karl Scheffler, “Die Letzte Austellung der Berliner Sezession” (review of Herbstausstellung, Berlin, 1913), Kunst und Künstler, vol. 12 (December 1, 1913), p. 202 (ill., as Pierrot).

Max Creutz, “Haus Leffmann in Köln von Architekt Bruno Paul,” Dekorative Kunst 24 (January-February 1921), pp. 75 (ill.), 76 (text), 79 (ill.), 83 (ill.).

Hermann Muthesius, Die schöne Wohnung: Beispiele neuer deutscher Innenräume (Munich 1922), p. 137 (ill.).

Scofield Thayer, ed., The Dial 85 (October 1928), ill. n.p. (as L’acteur).

Christian Zervos, Pablo Picasso, 33 vols. (Paris and New York, 1932–78), vol. 1 (1932), no. 291, p. 124 (ill., as The Actor).

Maurice Raynal, Picasso (Munich 1921), ill. pl. 18 n.p. (ill., as L’acteur – Schauspieler), and (Paris 1922), pl. 18;

Oskar Schürer, Pablo Picasso (Berlin & Leipzig 1927), pl. 2 (as Der Schauspieler);

L.S.E., “Austellungen” (exh review mentioning The Actor as lent by Paul Leffmann to Cologne 1929) Das Kunstblatt (edited by Paul Westheim), vol. 13 (1929), p. 95 – Klaus preprint, Nendeln/Liechtenstein, 1978.

James Thrall Soby, “Picasso: A Critical Estimate” (review of New York 1939), Parnassus 11, no. 8 (December 1939), pp. 8 (ill.), 10 (as The Actor).

Alfred H. Barr Jr., Picasso: Fifty Years of His Art (New York 1946), p. 33 (ill.); also 1974 edition, ibid.

Jacques Lassaigne, Picasso (Paris 1949), pl. 12 (as L’acteur).

Juan Antonio Gaya Nun~o, Picasso (Barcelona 1950), pl. 12 (as El actor).

Anonymous, “Eighty Third Annual report of the Trustees for the Year 1952,” The Metropolitan Museum of Art Bulletin, n.s., vol. 12, no. 1 (summer 1953), p. 18.

Sanka Knox, “Art Epoch Opens at Metropolitan: 700 Masterpieces Go on View Today in the 44 Recreated Galleries of the Museum,” New York Times, January 9, 1954, pp. 17, 28.

William S[lattery] Lieberman, Pablo Picasso: Blue and Rose Periods (New York 1954), pls. 21, 22, n.p.

Frank Elgar and Robert Maillard, Picasso (Paris 1955), pp. 18, 265 (ill.); and English transl. by Francis Scarpe (New York 1956), p. 22, & ill. n.p.

Denys Sutton, Picasso, Peintures: Epoques bleue et rose (Paris 1955), fig. 23, n.p. (as L’Acteur).

Antonia Vallentin, Pablo Picasso (Paris 1957), p. 113 (as L’Acteur).

Roland Penrose, Picasso: His Life and Work (London 1958), p. 111 & ill. pl. III-1 n.p., also (New York 1959), pp. 10, 107, & ill. pl. III-1 n.p.; and reprint (Berkeley and L.A 1981), pp. xii, 108, & ill. pl. III-1.

Günter Aust, “Die Ausstellung des Sonderbundes 1912 in Köln,” Wallraf-Richartz-
Jahrbuch, vol. XXIII (1961), p. 284.

Anthony Blunt and Phoebe Pool, Picasso, The Formative Years: A Study of His Sources (London 1962), p. 21.

Hugo Perls, Warum ist Kamilla schön? Von Kunst, Künstlern und Kunsthandel (Munich 1962), ill. on cover.

Pierre Daix and Georges Boudaille, Picasso: The Blue and Rose Periods, A Catalogue Raisonné of the Paintings, 1900–1906 (Neuchâtel 1966), transl. Phoebe Pool (Greenwich, Conn. 1967), no. XII.1, pp. 65, 67-8, 70, 74, 254, 256 (ill.); and Picasso 1900-1906: Catalogue raisonné de l’Oeuvre peint (Neuchâtel 1988), no. XII.1, pp. 67, 69-70, 256 (ill.), 257.

Charles Sterling, and Margaretta M. Salinger, French Paintings: A Catalogue of the Collection of the Metropolitan Museum of Art, Vol. 3 (New York 1967), pp. 231-232 (ill.).

André Fermigier, Picasso (Paris 1969), pp. 46, 47 (fig. 28), 392 (as L’Acteur).

Paolo Lecaldano, L’opera completa di Picasso blu e rosa (Milan 1968), no. 154, p. 99 (ill.), pl. 27, n.p. (as L’Attore); reprints (Milan 1971 & 1979), ibid.; and transl., Lecaldano, The complete paintings of Picasso Blue and Rose Periods (New York 1968), ibid.

Georges Boudaille, Picasso: Première époque 1881-1906, Période bleue et rose (Paris 1969), pl. VI .

Roland Penrose, Picasso (London 1971), p. 111, & pl. III.1.

Donald E. Gordon, Modern Art Exhibitions, 1900-1916 (Munich 1974), p. 593 (Cologne 1912, no. 216).

Pierre Cabanne, Le siècle de Picasso I : La jeunesse, le cubisme, le théâtre, l’amour, 1881-1937 (Paris 1975), transl. by Harold J. Salemson as Pablo Picasso: His Life and Times (New York 1977 and 1979), pp. 94, 97, 211.

Ronald Christ, “Picasso’s Hands: The Mutability of Human Form,” artscanada, no. 236-237 (September-October 1980), pp. 21-22 (ill.).

Pierre Cabanne, Picasso, Pour le Centenaire de sa naissance (Neuchâtel 1981), p. 60 (brief mention in essay about Femme à la corneille).

Josep Palau i Fabre, Picasso: The Early Years, 1881-1907, English transl by Kenneth Lyons (New York 1981), no. 1017, pp. 396 (ill.), 399, 403, 544-5.

Christine Piot, “Décrire Picasso,” Thèse de doctorat de 3e cycle, Université de Paris I, Pantheon-Sorbonne (Paris, October 1981), p. 61.

Jacques Perry, Yo Picasso (Paris 1982), p. 110.

Isabelle Monod-Fontaine et al., Donation Louise et Michel Leiris - Collection Kahnweiler-Leiris, exh. cat., Centre Georges Pompidou (Paris 1984), p. 169 (Picasso letter dated July 15, 1912, to Kahnweiler, about the Cologne 1912 exh.).

Haruki Yaegashi, Roransan, exh. cat., Art Gallery Shueisha (Tokyo 1985), p. 72 (ill.).

Marie-Laure Bernadac, Picasso, le sage et le fou (Paris 1986), p. 33 (ill.).

Pierre Daix, Picasso créateur : la vie intime et l’œuvre (Paris 1987), p. 56.

Danièle Boone, Picasso (Paris 1989), and transl. by John Greaves (London 1989), p. 12; and revised edition (London 1993), ibid.

Denys Chevalier, Picasso: The Blue and Rose Periods [1969], transl. Stéphanie Winston (New york 1978), pp. 40 (ill.), 64, 69, and (New York 1991), pp. 62 (ill.), 63, 73.

John Richardson with Marilyn McCully, A Life of Picasso, 3 vols. published to date (New York, 1991–2007), vol. 1 (1991), pp. 248 (n. 31), 315, 337-338 (ill), 502 (n. 31).

Michèle Richet “Bateleurs et Cirque,” in : Brigitte Léal, Picasso, Jeunesse et Genèse: Dessins 1893-1905, exh. cat., Musée Picasso, Paris, and Musée des Beaux Arts, Nantes (Paris 1991), p. 112.

Hélène Seckel, Picasso: Les chefs-d’oeuvre de la Période rose, Quarante tableaux (Munich-Paris 1992), p. 11, pl. 1 n.p. (as L’Acteur).

Pierre Daix in: Maria Teresa Ocaña et al, Picasso, 1905–1906: From the Rose Period to the Ochres of Gósol, exh. cat., Museu Picasso, Barcelona, and Kunstmuseum, Bern, transl. Richard Rees (Barcelona 1992), pp. 34, 48 (n. 23).

Carsten-Peter Warncke, Pablo Picasso, 1881-1973, vol. 1, The Works, 1890-1936 (Cologne 1992), and German ed., Pablo Picasso, 1881-1973, vol. 1, Werke 1890-1936 (Cologne 1993), p. 114 (ill.).

Alfred Ziffer, ed., Bruno Paul: Deutsche Raumkunst und Architektur zwichen Jugendstil und Moderne (Munich 1992), p. 211 (fig. 398).

Christian Geelhaar, Picasso : Wegbereiter und Förderer seines Aufstiegs 1899-1939 (Zurich 1993), pp. 47 (fig. 39), 57, 237 (fig. 268), 274 (n. 133).

Joseph Low Karmel (Pepe Karmel), Picasso’s Laboratory: The Role of his Drawings in the Development of Cubism, 1910-14, Ph.D. dissertation, New York University, Institute of Fine Arts (New York 1993), vol. 1, p. 18 (n. 4).

John Richardson, "Picasso und Deutschland vor 1914,” in: Heiko Andreas and Wolfgang Wittrock, ed., Wolfgang Wittrock, Kunst des 20. Jahrhunderts, 20 Jahre Wittrock Kunsthandel, 20 Werke (Dusseldorf 1994), p. 26 (as Schauspieler, DB XII.1).

Pierre Daix, Dictionnaire Picasso (Paris 1995), pp. 9, 286, 416, 646, 763.

Michael C. Fitzgerald, Making Modernism: Picasso and the Creation of the Market for Twentieth-Century Art (New York 1995), pp. 254, 301 (n. 115).

Anne Baldessari, Le Miroir noir: Picasso, sources photographiques, 1900–1928, exh. cat., Musée Picasso, Paris (1997), pp. 124 (fig. 113), 128.

Peter Read, “Au rendez-vous des poètes: Picasso, French Poetry, and Theater, 1900-1906,” in: Marilyn McCully, ed., Picasso: The Early Years, 1892-1906, exh. cat., National Gallery of Art and Museum of Fine Arts (Washington DC 1997), pp. 44, 217-218 (fig. 6).

Brigitte Léal, Christine Piot and Marie-Laure Bernadac, Picasso Total, 1881-1973 (Barcelona 2000), pp. 76 (ill. fig. 149), 504 (as Arlequin); and edition in English, The Ultimate Picasso (New York 2000), pp. 72, 76 (ill. fig. 149), 89, 504.

Elizabeth Cowling, Picasso: Style and Meaning (London 2002), pp. 118, 119 (fig. 93).

William Owen Harrod, Bruno Paul: The Life and Work of a Pragmatic Modernist (Stuttgart / London: Axel Menges, 2005), pp. 49 (fig. 78), 52, 104.

Auction, “Pablo Picasso: Works from an Important Sketchbook of 1905, Lots 123-144 in the Sale Impressionist & Modern Art Works on Paper,” Sotheby’s, London, February 8, 2006, p. 16 (ill., under no. 126, Garçon au caleçon noir).

Michael Fitzgerald, with a Chronology by Julia May Boddewyn, Picasso and American Art, exh. cat., Whitney Museum of American Art (New York 2007), pp. 350 (in Chronology, under November 15, 1939-January 7, 1940), 355 (under January 15 to March 2, 1941).

Peter Read, Picasso and Apollinaire: The Persistence of Memory (Berkeley 2008), p. 14.

Marie-Laure Bernadac and Paule de Bouchet, Picasso, le sage et le fou (Paris: Découvertes Gallimard, 2009), p. 41 (ill.).

Oren Yaniv, “Rare Picasso Painting, The Actor, Accidentally Torn by Woman at Metropolitan Museum of Art,” Daily News, January 24, 2010, ill., http://www.nydailynews.com/ny_local/2010/01/25/2010-01-25_she_puts_the_ass_in_picasso_masterpiece_torn_at_met.html.

Lindsay Pollock, “Picasso Painting Ripped After Visitor Bumps Into Museum Exhibit,” Bloomberg.com, January 25, 2010, ill., http://www.bloomberg.com/apps/news?pid=20601088&sid=aifQILU54Me8 .

Carol Vogel, “Woman Collides With a Picasso,” New York Times, January 25, 2010, ill., http://www.nytimes.com/2010/01/25/arts/design/25arts-WOMANCOLLIDE_BRF.html .

Anonymous, “Picasso Painting The Actor Torn by Woman at Metropolitan Museum of Art,” Huffingtonpost.com, January 25, 2010, ill., http://www.huffingtonpost.com/2010/01/25/the-actor-picasso-paintin_n_435210.html .

Anonymous, “Picasso Painting Damaged at New York Museum,” CNN News, January 26, 2010, ill., http://www.cnn.com/2010/US/01/24/picasso.painting.damaged/index.html

Carol Vogel, “Questions Over Fixing Torn Picasso,” New York Times, New York edition, January 26, 2010, p. C1, ill., http://www.nytimes.com/2010/01/26/arts/design/26picasso.html .

Candace Jackson, “The Art of Rips, Tears and Repairs: Damage to a Picasso is just the latest museum-goer accident,” Wall Street Journal, January 29, 2010, ill.,
http://205.203.140.65/article/SB10001424052748704094304575029610052908770.html?mod=WSJ_article_MoreIn.

Anonymous, “Metropolitan Museum Presents 300 Picasso Works Featured in Landmark Exhibition,” BroadwayWolrd.com, April 5, 2010, http://www.broadwayworld.com/article/Metropolitan_Museum_Presents_300_Picasso_Works_Featured_in_Landmark_Exhibition_20100405.

Frances Spiegel, “Works by Pablo Picasso on Display at Metropolitan Museum of Art,” Suite 101, April 7, 2010, ill., http://specialartgalleryexhibits.suite101.com/article.cfm/works-by-pablo-picasso-on-display-at-metropolitan-museum-of-art .

Anonymous, “Grande rétrospective et vente aux enchères de deux tableaux de Picasso à New York,” yahoo.news.com, April 14, 2010,
http://74.125.93.132/search?q=cache:I9BTURYJdSYJ:fr.news.yahoo.com/3/20100414/twl-peinture-new-york-picasso-encheres-1be00ca.html+%E2%80%9CR%C3%A9trospective+et+vente+aux+ench%C3%A8res+de+deux+tableaux+de+Picasso+%C3%A0+New+York,%E2%80%9D+fr.news.yahoo&cd=1&hl=en&ct=clnk&gl=us.

Anonymous, “Rétrospective et vente aux enchères de deux tableaux de Picasso à New York,” Associated Press, April 15, 2010,
http://www.google.com/hostednews/canadianpress/article/ALeqM5hgZxPLhgh643EVIj78-tZ2eECCfA.

AP, “Picasso has Met his Match,” New York Post, April 15, 2010, http://www.nypost.com/p/news/local/picasso_has_met_his_match_OAkymy5L5Ncc5cMYyd3UjL.
.
Anonymous, « Met to Showcase Extensive Picasso Collection, » CBC (Canada), April 15, 2010, http://www.cbc.ca/arts/artdesign/story/2010/04/15/met-picasso-exhibit.html.

Candace Jackson, “Picasso to the Rescue” (re. New York 2010), Wall Street Journal, April 16, 2010, http://online.wsj.com/article/SB10001424052702303348504575184392107698092.html?mod=WSJ_hpp_sections_lifestyle .

Ula Ilnytzky, “Major Picasso Exhibit to Open in New York City” (re. New York 2010), USA Today, April 17, 2010, http://www.usatoday.com/travel/destinations/2010-04-17-new-york-picasso-exhibit_N.htm.

Anonymous, “Out of Storage, Into Spotlight: Met Shows Off its Picassos,” The Washington Post, April 18, 2010, p. E8.

Anonymous, “300 Picasso Works in Metropolitan Museum’s Collection in Landmark Exhibition” (re New York 2010), Art Knowledge News, April 20, 2010, http://www.artknowledgenews.com/2010-04-20-00-32-15-300-picasso-works-in-metropolitan-museums-collection-in-landmark-exhibition.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artknowledge+%28Art+Knowledge+News+-+Keeping+You+in+Touch+with+the+World+of+Art...%29.

Anonymous, “Damaged Picasso Returns to Met,” Daily Beast, April 20, 2010, http://www.thedailybeast.com/cheat-sheet/item/damaged-picasso-returns-to-met/art/ .

Anonymous, “Cityfile: Torn Picasso Returned to the Met,” Gawker, April 20, 2010, ill., http://gawker.com/5520712/torn-picasso-returned-to-the-met .

Anonymous, “Museo Metropolitano de Nueva York presenta su más valiosa exposición de Pablo Picasso,” Novosti (Russia), April 20, 2010, http://sp.rian.ru/onlinenews/20100420/125983802.html.

Anonymous, “Picasso Revised and Corrected His Works!,” Spicezee, April 20, 2010, http://spicezee.zeenews.com/articles/story59232.htm.

Ula Ilnytzky, “Major Picasso Exhibit to open at NYC’s Met Museum (re. New York 2010), The Associated Press, April 20, 2010, http://www.mycentraljersey.com/article/20100419/ENTERTAINMENT/100416049/Pablo-Picasso-gets-major-exhibit-at-NYC-s-Metorpolitan-Museum-of-Art.

Mark Memmott, “Picasso’s The Actor is Restored,” NPR blog, April 20, 2010, ill., http://www.npr.org/blogs/thetwo-way/2010/04/picasso_the_actor_damaged_rest.html

Anonymous, “El Metropolitan muestra al completo sus colecciones de Picasso,” MasdeArte.com, April 20, 2010, http://www.masdearte.com/index.php?view=article&catid=37&id=10776&option=com_content&Itemid=26.

Juli Weiner, “Picasso Painting that was damaged in Tripping Accident has healed Just Fine!,” ill., Vanity Fair online, April 20, 2010, http://www.vanityfair.com/online/daily/2010/04/picasso-painting-that-was-damaged-in-tripping-accident-has-healed-just-fine.html
Anonymous, “Picasso’s The Actor returns to the Stage at the Met,” Artinfo.com, April 21, 2010, ill., http://www.artinfo.com/news/story/34417/picassos-the-actor-returns-to-the-stage-at-the-met/ .

Carol Vogel, “After Repairs, a Picasso Returns,” New York Times, April 21, 2010, pp. TK, and ills. (installation photo, repro of the painting, reverse detail, and x-radiograph),
http://www.nytimes.com/2010/04/21/arts/design/21picasso.html?emc=eta1 and
http://www.nytimes.com/slideshow/2010/04/20/arts/20100421_PICASSO_SLIDESHOW-2.html .

Anonymous, “Un Picasso endommagé en janvier revient dans une rétrospective au Met à New York, » Agence France-Press / Le Point, April 22, 2010, http://www.lepoint.fr/culture/2010-04-22/un-picasso-endommage-en-janvier-revient-dans-une-retrospective-au/249/0/448276.

Anonymous, “Picasso at the Met: An in-house Blockbuster,” The Economist, April 22, 2010, http://www.economist.com/culture/displaystory.cfm?story_id=15949127 .

Anaïs Davezac, “Le Met étale sa collection Picasso,” French Morning, April 23, 2010, http://frenchmorning.com/ny/2010/04/23/le-met-etale-sa-collection-picasso/ .

Anonymous, “Picasso at the Met: An in-house blockbuster,” The Economist, April 24, 2010, ill., http://www.economist.com/culture/displaystory.cfm?story_id=15949127 .

Howard Kissel, “Picasso in the Metropolitan Museum of Art,” Daily News Blog, April 25, 2010, http://www.nydailynews.com/blogs/culture/2010/04/picasso-in-the-metropolitan-mu.html.

Tracey O’Shaughnessy, “The Pick of Picasso,” Republican-American, April 25, 2010, http://republicanamerican.ct.newsmemory.com.

Rachel Heller, “Below the Surface,” Haute Living, April 26, 2010, http://www.hauteliving.com/2010/04/below-the-surface/.

Jill Krementz, “Picasso in The Met,” New York Social Diary online, April 26, 2010, http://www.newyorksocialdiary.com/node/1901648 .

Marc Pitzke, “Picassos neueste Enthüllungen,” Spiegel (Germany), April 26, 2010, ill., http://www.spiegel.de/kultur/gesellschaft/0,1518,691183,00.html .

Ethan Trex, “Do Not Touch: 8 Times Museum Patrons Mangled Works of Art,” Mental Floss Blog, April 26, 2010, http://www.mentalfloss.com/blogs/archives/53984 .

Anonymous, “8 Times Museum-Goers Mangled Art,” L Magazine Blog, April 27, 2010, http://listicles.thelmagazine.com/2010/04/8-times-museum-goers-mangled-art/ .

Anonymous, “Picasso en Nueva York: Solución a la crisis económica?” Revista Arcadia, April 27, 2010, http://www.revistaarcadia.com/arte/articulo/picasso-nueva-york-solucion-crisis-economica/22164 .

Anonymous, “Picasso, al descobert, al Metropolitan de Nova York,” TV 3 Barcelona (Spain), April 27, 2010, ill. (installation view), http://www.3cat24.cat/video/2867310/ociicultura/Picasso-al-descobert-al-Metropolitan-de-Nova-York.

Anne Grau, “El Metrpolitan saca todos sus Picassos del almacén para capear la crisi,” Diario ABC (Spain), April 27, 2010, ill. (installation photo), http://www.abc.es/20100427/cultura-arte/metropolitan-saca-todos-picassos-20100427.html .

Linda Yablonsky, “Picasso Extravaganza Airs Met Museum Cache of Rarities, Wonders,” Bloomberg.com, April 27, 2010, http://www.bloomberg.com/apps/news?pid=20601088&sid=akCYMjyBQmeU .

Anonymous, “Picasso-Ausstellung in New York,” Reuters TV, April 28, 2010, ill., http://www.suedtirolnews.it/dv/artikel/2010/04/28/picasso-ausstellung-in-new-york.html

Anonymous, “Beschädigtes Picasso-Bild gibt Geheimnisse preis,” Tages Anzeiger, April 28, 2010, http://www.tagesanzeiger.ch/kultur/kunst/Beschaedigtes-PicassoBild-gibt-Geheimnisse-preis/story/10621115 .

André Petry, “E assim se fez Picasso,” Veja (Brazil), April 28, 2010, ill., http://veja.abril.com.br/280410/e-assim-se-fez-picasso-p-140.shtml .

Linda Yablonsky, “Picasso’s Life, as seen through museum prism,” The Record, April 28, 2010, p. F-9 (ill.).

Anonymous, “Picasso: Un español en Nueva York,” Observador Global, April 29, 2010, http://observadorglobal.com/picasso-un-espanol-en-nueva-york-n7109.html.

Terry Marocco, « La Primavera di Picasso, » Panorama (Italy), April 29, 2010, pp. 140 ff.

Anonymous, “Picasso at the Met,” Newsday, April 30, 2010, p. TK.

Sacha Verna, “Alles, was da ist,” Deutschlandradio (Germany), May 1, 2010, http://www.dradio.de/dlf/sendungen/kulturheute/1175130/ .

Deirdre Hering, “All the Picasso That’s Fit to Hang,” L Magazine, May 3, 2010, http://www.thelmagazine.com/newyork/all-the-picasso-thats-fit-to-hang/Content?oid=1615793.

Lance Esplund, “Hunger for Picasso: Four New York Exhibitions reveal our, and Picasso’s, endless appetites for the Master’s portraits, nudes – and blockbuster shows,” CityArts, vol. 2, no. 9, May 4, 2010.

Jerry Saltz, “Jerry Saltz Takes You Through the Met’s Massive Picasso Show,” New York Magazine online, May 4, 2010, ill. (video showing works in the exh. installation), http://nymag.com/daily/entertainment/2010/05/jerry_saltz_takes_you_through.html .

Anonymous, “Picasso in the Metropolitan Museum of Art,” Time Magazine online, May 6, 2010, ill., http://www.time.com/time/photogallery/0,29307,1987464_2134097,00.html.

Anonymous, “Picasso au Metropolitan Museum of Art,” Picasso Administration: Le Journal online, May 10, 2010, http://www.picasso.fr/fr/picasso_page_journal.php.

Daniel Hoddings, “Picasso’s The Actor Returns to the Met Repaired and Glazed After Four Months,” artknowledgenews, May 11, 2010, ill., http://www.artknowledgenews.com/2010-11-05-00-38-52-picassos-the-actor-returns-to-the-met-repaired-and-glazed-after-four-months.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artknowledge+%28Art+Knowledge+News+-+Keeping+You+in+Touch+with+the+World+of+Art...%29.

Geoffrey, “Picasso in the Metropolitan Museum of Art: A Behind-the-Scene Tour with the Director,” The Year of Magical Painting blog, May 19, 2010, YouTube video from the Met’s website, tour of the Picasso exh. with Tom Campbell and Gary Tinterow, http://yearofmagicalpainting.blogspot.com/2010/05/picasso-in-metropolitan-museum-of-art.html; extracted from http://www.metmuseum.org/special/se_event.asp?OccurrenceId={CD70B3F0-D1B8-4501-9B63-085D213E0E9B}.

Anonymous, “Go See – New York: Picasso,” Art Observed.com, May 21, 2010, ill.,
http://artobserved.com/go-see-new-york-picasso-picasso-in-the-metropolitan-museum-of-art-the-metropolitan-museum-of-art-through-august-1st-2010/.

Mark Chamberlain, “Picasso at the Met,” ApartmentTherapy.com, June 8, 2010, ill. (installation photo), http://www.apartmenttherapy.com/ny/colortherapy/picasso-in-the-metcolortherapy-118940 .

Valmir Moratelli, « Metropolitan usa raio X em obras de Pablo Picasso, » Ultimo Segundo (Brazil), June 16, 2010, http://ultimosegundo.ig.com.br/cultura/metropolitan+usa+raio+x+em+obras+de+pablo+picasso/n1237668933233.html.

Tonica Chagas, “Picasso o gênio e suas surpresas,” Estado de Sao Paulo, June 22, 2010, p. D5 (ill.).

Mona Molarsky, “Review: In My Father’s House – Picasso at the Metropolitan Museum of Art,” Examiner.com, July 22, 2010, http://www.examiner.com/examiner/x-907-NY-City-Life-Examiner~y2010m7d22-Picasso2.

Anonymous, “Travel Tip: Art and Archaeology in united States: Picasso in the Metropolitan Museum of Art,” CultureKiosque.com, July 26, 2010, http://www.culturekiosque.com/travel/item17736.html.

Shelley Esaak, “Picasso in the Metropolitan Museum of Art,” About.com, July 26, 2010, ill., http://arthistory.about.com/od/from_exhibitions/ig/picasso-in-the-met/.

Anonymous, “”Artinfo: Top 10 Shows to See in New York City,” Huffington Post, August 5, 2010, http://www.huffingtonpost.com/artinfo/the-top-ten-shows-to-see_b_671701.html.

Anonymous, “The Met’s Museum’s Picasso Exhibition Draws 700,000 visitors in 17 weeks,” broadwayworld.com, August 17, 2010, http://www.broadwayworld.com/article/The_MET_Musuems_Picasso_Exhibition_Draws_700000_Visitors_in_17_Weeks_20100817

Janet Bishop, Cécile Debray, and Rebecca Rabinow, eds. The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde. San Francisco Museum of Modern Art, May 21-September 6, 2011; Grand Palais, Paris, October 3, 2011-January 16, 2012; and The Metropolitan Museum of Art, New York, February 21-June 3, 2012. Not shown in Paris. Exhibition catalogue, p. 116 (caption for pl. 69).