After Picasso left the south of France for Paris in autumn 1912, Georges Braque stayed behind and made the first Cubist papier collé by gluing strips of wood-grain wallpaper onto a drawing. As soon as Picasso saw what Braque had done, he too began to incorporate cut paper into his Cubist compositions. This work is one of the most economical and elegant of Picasso’s early papiers collés. The American photographer and art dealer Alfred Stieglitz bought it for $150 in 1915 from the French artist Francis Picabia, who supported himself during World War I by working as an art dealer.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
Inscription: Signed (verso, upper left, in graphite [underlined]): Picasso
[Galerie Kahnweiler, Paris, by 1914]; Francis Picabia, Paris (until 1915; sold in 1915, for $150, to Stieglitz); Alfred Stieglitz, New York (1915–d. 1946; his estate, 1946–49; gift to MMA)
New York. 291. "Exhibition of Recent Drawings and Paintings by Picasso and by Braque, of Paris," December 9, 1914–January 11, 1915, no catalogue.
Philadelphia. Pennsylvania Academy of the Fine Arts. "Exhibition of Paintings and Drawings by Representative Modern Masters," April 17–May 9, 1920, no. 188.
New York. Museum of Modern Art. "Cubism and Abstract Art," March 2–April 19, 1936, no. 219.
New York. An American Place. "Beginnings and Landmarks: "291," 1905–1917," October 27–December 27, 1937, no. 39.
New York. Museum of Modern Art. "Picasso: Forty Years of His Art," November 15, 1939–January 7, 1940, no. 107.
New York. An American Place. "Exhibition of Four Americans: Dove, Marin, O'Keeffe, Stieglitz, and Picasso," October 17–November 27, 1941, no. 14.
Philadelphia Museum of Art. "History of an American, Alfred Stieglitz: '291' and After, Selections from the Stieglitz Collection," July 1–November 1, 1944, no. 100.
Museum of Modern Art, New York. "Alfred Stieglitz Exhibition: His Collection," June 10–August 31, 1947, no catalogue (checklist no. 95).
Art Institute of Chicago. "Alfred Stieglitz: His Photographs and His Collection," February 2–29, 1948, no catalogue (checklist no. 19).
New York. Museum of Modern Art. "Collage," September 21–December 5, 1948, no catalogue (checklist no. 66; as "Bottle and Glass on a Table," 1912–13, lent by the Estate of Alfred Stieglitz, courtesy the Art Institute of Chicago).
Art Gallery of Toronto. "Picasso," April 1949, no. 42.
Museum of Modern Art, New York. "From the Alfred Stieglitz Collection: An Extended Loan from the Metropolitan Museum of Art," May 22–August 12, 1951, no catalogue (checklist no. E.L.51.693; loan extended to May 15, 1961).
New York. Museum of Modern Art. "Picasso: 75th Anniversary Exhibition," May 22–September 8, 1957, unnumbered cat. (p. 43).
Art Institute of Chicago. "Picasso: 75th Anniversary Exhibition," October 29–December 8, 1957, unnumbered cat.
Philadelphia Museum of Art. "Picasso: A Loan Exhibition of His Paintings, Drawings, Sculpture, Ceramics, Prints and Illustrated Books," January 8–February 23, 1958, no. 67.
New York. The Metropolitan Museum of Art. "Drawings from the Alfred Stieglitz Collection," September 9–November 12, 1967, no catalogue (unnumbered checklist).
Los Angeles County Museum of Art. "The Cubist Epoch," December 15, 1970–February 21, 1971, no. 258.
New York. The Metropolitan Museum of Art. "The Cubist Epoch," April 9–June 7, 1971, no. 258.
Paris. Musée National d'Art Moderne, Centre Georges Pompidou. "Paris–New York," June 1–September 19, 1977, unnumbered cat. (pp. 256–57).
Philadelphia Museum of Art. "Picasso & Things: The Still-Lifes of Picasso," June 7–August 23, 1992, no. 37.
New York. The Metropolitan Museum of Art. "Picasso the Engraver: Selections from the Musée Picasso, Paris," September 18–December 21, 1997, not in catalogue.
New York. Whitney Museum of American Art. "Picasso and American Art," September 28, 2006–February 4, 2007, unnumbered cat. (pl. 19).
New York. The Metropolitan Museum of Art. "Picasso in The Metropolitan Museum of Art," April 27–August 1, 2010, no. 58.
New York. Museum of Modern Art. "Picasso: Guitars, 1912–1914," February 13–June 6, 2011, no. 31 (as "Bottle and Wineglass on a Table").
New York. The Metropolitan Museum of Art. "Stieglitz and His Artists: Matisse to O'Keeffe," October 13, 2011–January 2, 2012, no. 31.
Camera Work 48 (October 1916), p. 64, pl. IV (installation photo of Exh. New York 1914–15), [possibly this work].
Christian Zervos. Pablo Picasso. Vol. 2b, Works from 1912 to 1917. Paris, 1942, p. 200, no. 428, ill.
Alfred H. Barr Jr. Picasso: Fifty Years of His Art. New York, 1946, p. 80, ill.
George Heard Hamilton. "The Alfred Stieglitz Collection." Metropolitan Museum Journal 3 (1970), p. 380, fig. 7.
Franco Russoli and Fiorella Minervino. L'opera completa di Picasso cubista. Milan, 1972, p. 115, no. 575, ill.
Ulrich Weisner et al. Zeichnungen und Collagen des Kubismus: Picasso, Braque, Gris. Exh. cat., Kunsthalle Bielefeld. Bielefeld, 1979, p. 268, pl. 82.
Pierre Daix and Joan Rosselet. Picasso, The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works. Boston, 1979, pp. 126, 294, no. 548, ill.
Pierre Daix. Cubists and Cubism. Geneva, 1982, p. 104, fig. 3.
Pierre Daix in Isabelle Monod-Fontaine with E. A. Carmean Jr. Braque: The Papiers Collés. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou, Paris. Washington, D.C., 1982, p. 41, fig. 29.
Jean-Louis Paudrat in"Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern. Ed. William Rubin. Exh. cat., Museum of Modern Art, New York. Vol. 1, New York, 1984, p. 152, ill. (installation photo of Exh. New York 1914–15).
Patricia Leighten. "Picasso's Collages and the Threat of War, 1912–13." Art Bulletin 67 (1985), pp. 665, 667–68, figs. 12, 13.
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 118, pl. 94.
Edward F. Fry. "Picasso, Cubism, and Reflexivity." Art Journal 47 (winter 1988), p. 310.
William Rubin, ed. Picasso and Braque: Pioneering Cubism. Exh. cat., Museum of Modern Art. New York, 1989, p. 34, ill.
Patricia Leighten. Re-Ordering the Universe: Picasso and Anarchism, 1897–1914. Princeton, 1989, pp. xiii, 127, figs. 85, 86.
Christine Poggi. In Defiance of Painting: Cubism, Futurism, and the Invention of Collage. New Haven, 1992, p. 56, fig. 46.
Yve-Alain Bois. "The Semiology of Cubism." Picasso and Braque: A Symposium. Ed. Lynn Zelevansky. New York, 1992, p. 192, fig. 26.
Anne Baldassari. Picasso photographe, 1901–1916. Exh. cat., Musée Picasso. Paris, 1994, pp. 215, 220–21, fig. 160.
Pierre Daix. Dictionnaire Picasso. Paris, 1995, p. 119.
Anne Baldassari. Le Miroir noir: Picasso, sources photographiques, 1900–1928. Exh. cat., Musée Picasso. Paris, 1997, pp. 106, 109, 114–15, fig. 132.
Simone Philippi and Ute Kieseyer, ed. Alfred Stieglitz. Camera Work: The Complete Illustrations, 1903–1917. Cologne, 1997, p. 766, ill.
Pepe Karmel in Sarah Greenough. Modern Art and America: Alfred Stieglitz and His New York Galleries. Exh. cat., National Gallery of Art. Washington, D. C., 2000, pp. xxviii, 184, 192, 197, pl. 51, fig. 71.
Mark Antliff and Patricia Leighten. Cubism and Culture. New York, 2001, pp. 184–85, figs. 154, 155.
Christopher Green, ed. Picasso's Les Demoiselles d'Avignon. Cambridge, 2001, p. 7, fig. 3.
Natasha Staller. A Sum of Destructions: Picasso's Cultures and the Creation of Cubism. New Haven, 2001, pp. 226–27, fig. 234.
Sarah Greenough. Alfred Stieglitz: The Key Set. The Alfred Stieglitz Collection of Photographs. Vol. 1, 1886–1922. New York, 2002, pp. xxxi, 242, no. 393, fig. 29.
Anne Baldassari. Picasso: Papiers, journaux. Paris, 2003, pp. 75, 78–80, 226 n. 294, fig. 65.
Kristina Wilson. The Modern Eye: Stieglitz, MoMA, and the Art of the Exhibition, 1925–1934. New Haven and London, 2009, pp. 16, 27, ill. and fig. 7 (installation photo of Exh. New York 1937).
Gary Tinterow inPicasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, p. 5.
Lisa M. Messinger inPicasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, pp. 164–66, no. 58, ill. (color).
Jill Krementz. "Picasso in the Met." New York Social Diary Online. April 26, 2010.
Rachel Mustalish inPicasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, p. 166.
Lisa Mintz Messinger inStieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Mintz Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, pp. 51, 58–59, 70, 250–51, no. 31, ill. (color), figs. 6, 26 (installation photos).
Rachel Mustalish inStieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Mintz Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, p. 59.
Pablo Picasso (Spanish, Malaga 1881–1973 Mougins, France)
1929
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's engagement with art from 1890 to today includes the acquisition and exhibition of works in a range of media, spanning movements in modernism to contemporary practices from across the globe.
