Picasso and The Iberian Sculpture

Picasso and Iberian Sculpture
Author(s): James Johnson Sweeney

Source: The Art Bulletin, Vol. 23, No. 3 (Sep., 1941), pp. 191-198
Published by: College Art Association
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PICASSO AND IBERIAN SCULPTURE
BY JAMES JOHNSON SWEENEY
F OR many years it has been customary for writers on the work of Pablo Picasso to
attribute to his encounter with African Negro sculpture certain unfamiliar features
that began to appear in his work about 19o6 or 1907. African Negro art is said
to have caught the attention of the younger painters in Paris about 1905. Vlaminck
and Derain were among the first amateurs in this field. Their lead was followed shortly by
Matisse and others. About the same time in Germany a similar interest attracted the young
painters of the Dresden Briicke group. It was not unreasonable, therefore, to conceive a
possible affinity between these unfamiliar features of Picasso's work of 1907 and there-
abouts and African Negro art on the basis of certain formal characteristics which appeared
to afford a closer resemblance to that art than to any better-known source of inspiration.
In the spring of 1939, however, a statement by Picasso on the subject, reported by
Christian Zervos in the second volume of his comprehensive catalogue of Picasso's work,1
threw quite another light on the development. In discussing with Zervos his large 19o6-I 907
canvas Les Demoiselles d'Avignon (Fig. 9), Picasso declared that the attribution of these
forms to the influence of Negro art was inexact. He stated that at the time of painting this
picture he had not yet made the acquaintance of African Negro art. On the other hand,
he said that his interests, about that period, were intensely centered on Iberian sculpture,
and there, if anywhere, was the source of inspiration of the new forms which were then
beginning to appear in his work.
Zervos' report of Picasso's statement for the forthcoming volume reads as follows:
"On a toujours pretendu . . . que les figures des Demoiselles d'Avignon2 d&ivent directement de
l'art de la C6te d'Ivoire ou du Congo frangais. La source est inexacte. Picasso a puis6 ses inspirations
dans les sculptures ib&riques de la collection du Louvre. En ce temps, dans le milieu de Picasso, on
faisait un grand cas de ces sculptures, et l'on se souvient peut-etre encore du vol d'une de ces pi&ces
commis au Louvre, affaire a laquelle Apollinaire fut a tort mel6. Picasso qui, dis cette 6poque n'ad-
mettait pas que l'on put se passer, sans niaiserie, du meilleur que nous offre l'art de l'antiquit6, avait
renouvele dans une vision personelle, les aspirations profondes et perdurables de la sculpture ib&rique.
Dans les 616ments essentiels de cet art il trouvait l'appui n&cessaire pour transgresser les prohibitions
acad6miques, d6passer les mesures 6tablies, remettre toute l6galit6 esth6tique en question.
"Ces temps derniers Picasso me conflait que la critique ne s'est donn1 la peine d'examiner son
tableau d'une fagon attentive. Frapp~e des resemblances tris nettes qui existent entre les Demoiselles
d'Avignon et les sculptures ib~riques, notamment du point de vue de la construction g~n6rale des
t&tes, de la forme d'oreilles, du dessin des yeux, elle n'aurait pas se donna dans l'erreur de faire d~river
ce tableau de la statuaire africaine. L'artiste m'a formellement certifi6 qu'g l'6poque oiX il peignit les
Demoiselles d'Avignon il ignorait l'art de l'Afrique noire. C'est quelque temps plus tard qu'il en eut la
r6velation."
And when we look into the question of Iberian art and contemporary research in that
field, we see at once a coincidence of dates which would tend to support the likelihood of a
recently-awakened curiosity and interest on Picasso's part in this subject just antecedent to
his painting the Demoiselles d'Avignon in 1906 and I907. We find that during the years
19o3-1904, Pierre Paris published in Paris his Essai sur l'art et l'industrie de l'Espagne primi-
tive, a work which still remains the best extant corpus of Iberian art. In 1903 excavations
i. Not yet published, because of the war; seen by the 2. The preparatory sketches for this work date from the
writer in proof. winter of 19o6-i907. The picture itself was completed in
the spring of 1907.
FIG. I. Pablo Picasso: Portrait of Gertrude Stein, Oil, 19o6 FIG. 2. Paris, Louvre: Negro Attacked by a Lion. Iberian
Stone Bas-Relief from Osuna
FIG. 3. Pablo Picasso: Self Portrait, Oil, 190o6 FIG. 4. Pablo Picasso: Portrait of Allan Stein,
Gouache, 1906
192 THE ART BULLETIN
were made at Osuna; and in 1906 the results were

Pierre Paris: Un forteresse iberique & Osuna.3 A
definite reply to the suspicion of forgery that had m
sculptures at Cerro de los Santos in his complete p
Cerro de los Santos, cuestion de autenticidad.4 And
the first general r6sum6 of the question of Iberian
Finally, in the summer of 1906, following a win
working on his famous portrait of Gertrude Stein, th
excavations at Osuna were first published by Arth
a trip to Spain. Miss Stein's autobiography tells us
face of her portrait before his departure and on h
before his sitter had returned from her summer v
In repainting the portrait's face, Picasso gave it a
contrast to the rest of the picture, which he did not
this mask (Fig. I), its "eyeballs larger than in life a
the line of its mouth, the shape of its head, and th
and nose, with the same features in the Iberian bas
installed in the Mus6e du Louvre that same year,
to support Picasso's assertion that in the years 19
centered on Iberian sculpture.
The face, as we see it today, represents a wide dep
rest of the painting. In the rest of the work we ha
in which Picasso began the picture in 1905, and wh
of the long series of sittings described by Gertrud
in which Picasso first painted the face is fairly rep
Stein's nephew, Allan Stein, painted in the first m
work on the Gertrude Stein portrait was long draw
Self Portrait (Fig. 3), painted later in the spring of
tures of the final Stein mask, perhaps not quite so
3. Paris, Imprimerie Nationale, 1906.

6. Cf. Gertrude Stein, The Autobiography of Alice B.
4. This had appeared serially inYork,
Toklas, New Revista de of
1933. After a description archivos,
a series of
bibliotecas y museos, vIII, 1903, 85-90;
sittings during 470-85;
the winter of 19o5-90o6, Ix, 1903,
we read: "Spring
140-48; 247-55; 365-72; x, 1904, was coming 43-50; XI,
and the sittings were coming1904, 144-58;
to an end. All of
276-87. a sudden one day Picasso painted out the whole head. I
5. "Pre-Roman Bronze Votive Offerings from Despefia- can't see you any longer when I look, he said irritably. And
perros in the Sierra Morena, Spain," Archaeologia, LX, 1906, so the picture was left like that.
69-92. "Nobody remembers being particularly disappointed or
As early as 1897, the Louvre had acquired what still re- particularly annoyed at this ending to the long series of
mains its capital example of reputedly Iberian sculpture-- posings... Pablo and Fernande were going to Spain, she
the polychrome portrait-bust known as "The Lady of for the first time . . " (pp. 64-65).
Elche." And in 19oo, Jos6 Ram6n Melida published a long Then after a summer in Florence Miss Stein, according
series of articles on the Antonio Vives collection of bronze to her "biographer," came back to Paris: " ... fairly full of
votive figurines discovered at various Iberian sanctuaries excitement. In the first place she came back to her finished
(in the Revista de archivos, bibliotecas y museos, Iv, 19oo, portrait. The day he returned from Spain Picasso sat down
27-32; 70-76; 154-64; 351-54; 404-10; 541-46; 624-27). and out of his head painted the head in without having seen
In other words, during the decade which immediately Gertrude Stein again. And when she saw it he and she were
preceded the painting of Picasso's Demoiselles d'Avignon, content. It was very strange but neither can remember at
the most rewarding research had been carried out in the all what the head looked like when he painted it out ... "
field of Iberian art. During the same period the subject had (p. 70).
received wide publicity both in Spain and France, thanks 7. Pierson Dixon, The Iberians of Spain, London, 194o,
to the publication of the Osuna and Despefiaperros discov- p. 124.
eries and to settlement of the question of forgery, which 8. Christian Zervos, Pablo Picasso, i, cEuvres de 1895 d
had obstinately recurred whenever pre-Roman Spanish art 90o6, Paris, 1932, Pl. cLXvIu.
had been brought to light.
PICASSO AND IBERIAN SCULPTURE 193
blance to the same Osuna relief in the Louvre (Fig. 2) which the Stein m
reflect. And in his late 1905 Woman Combing her Hair (Fig. 5), we have a
cious hint of the sharp-cut features associable with the general style of
especially the votive bronze offerings found at the great shrines of Caste
and Despefiaperros (Fig. 7).
Therefore, Picasso's trip to Spain in the summer of 19o6 was apparently
stimulus to his interest in Iberian sculpture. This had probably been alr
that spring by the Louvre bas-reliefs from Osuna. And in all likelihood t
idiom of Iberian votive bronzes had caught his attention even earlier, sinc
treated these expressions at considerable length, both textually and by
his two-volume Essai sur l'art et l'industrie de l'Espagne primitive, publis
But, as we have seen, it was in the spring of 19o6 that Iberian art had re
publicity in Paris thanks to the installation of the Osuna sculptures in th
visit to Spain in the summer of 19o6 probably gave an added warmth t
for Iberian art. And on his return to Paris this new influence was undo
liberty to work its way into his own expression, thanks to the absence of
portrait on which he then went back to work.
When we recall the date at which this canvas was begun-the autumn
fact that Picasso in the course of its production had apparently become d
conventional mode of expression and turned to a primitive one for his forma
aspect of the attitude underlying this step begins to suggest itself. In it
what was taking place in Picasso's aesthetic outlook at the time, and why
taken the turn it did before the completion of this canvas.
In 19o05 the Autumn Salon featuring the Fauve group centered attenti
painters in Paris on non-orthodox expressions, preferably primitive in
would encourage no ostentation of mere skill or technical virtuosity. The
of course only a culmination of a tendency. Already in the opening yea
the trend had swung from the free rhythmic distortions of Gauguin a
broader, less naturalistic expressions. But the Fauves' productions now em
tion, not of art's independence of nature, but rather of its independence of t
representation of nature. For sanction and inspiration these painters lo
primitive, and folk arts, just as Gauguin and his associates had at Pont-A
earlier when they were developing their free decorative and expressionisti
In view of this general attitude among the younger painters of the time, i
to understand how the recently publicized discoveries and researches in t
art would have appealed to Picasso. Unorthodox in formal idiom, these s
the impression of a complete disregard for any refinements of manual de
technical virtuosity. Pierre Paris in I9o04 saw this. And the patronizing
wrote of the Iberian votive bronzes was just philistine enough to tempt
of the Fauve period in Paris to make use of those features he considere
baric: "... ils sont 6gaux en naivete maladroite, et manquent tous au
sens de la beaut6 plastique comme d'habilit6 manuelle."'9 Again, as ea
votive bronzes had been recognized by E.Hiibner1o as products, in all likel
native art of the Spanish peninsula.
9. Essai sur l'art et l'industrie de l'Espagne io. La arqueologid
primitive, ii, de Espania, Barcelona, 1888, p. 26S.
154.
And the fact that these expressions were a part of P

tional heritage had a further importance. For nationalist
ful role throughout Europe at this time.
In such an atmosphere of anti-aesthetic revolt and na
how the discovery of an art such as the Iberian would
alert to what was going on about him as Picasso has alw
possibly awakened, but more likely strengthened in h
distorted, even crudely expressive forms. Here was an
own country, perhaps already known to Picasso, but br
by the installation of the Osuna sculpture in the Louvr
found the real sanction for overstepping academic boun
to disregard conventional decorum and demonstrate the
canons. As a foreigner in Paris, it would have been natu
unusual attention paid that spring to this art of his ow
with the discussion of this indigenous expression still f
sought out concrete examples visible in the various Spa
we see him repainting the mask of the Gertrude Stein por
that of the rest of the canvas and completely different in
Stein gouache portrait, painted in the early months of
Another point of interest in connection with Picasso'
the course of painting the portrait of Gertrude Stein an
the final mask and the sculptures from Osuna in the Lo
took up modeling in the round. In that year the deale
bronzes cast for him. His first essays were definitely in th
the fluid forms, the lack of precise definition, and the
stituent volumes in La Coiffure (Fig. 8). His paintings at
sculptural field were flat and quietly decorative. The sim
Tate de Foul' and the gouache Le Fou of 190512 is very
Hair, 1905 (or early 90o6?) (Fig. 5) is obviously inspired
(Fig. 8). But in comparing the former pair we find a so
that suggests a close translation from one medium to anot
painting shows a striking gain over the bronze: the firm
formal stylization of the oils make the bronze seem soft a
if we turn to a small Iberian votive bronze of the type rep
ros, now in the Museo Arqueologico, Madrid (Fig. 7
Picasso's painting in respect to clarity, definition, volum
naivet6 which we do not find in Picasso's 1905 bronze, even
that of the painting. In fact the relationships which we
late 1905, or early 1906, and Iberian art suggest that Pi
expression, indicated by these 1905 essays in modeling,
primitive bronzes from his own country.
We also perceive a distinct suggestion of classical inf
vases3--an elegance of line and the cool tones of fresc
influence of Puvis de Chavannes which had so strongl
11. Zervos, op. cit., I, P1. CXLVIII.I3. E.g. ibid., I, Pl. cL.
12. Ibid., I, P1. cxxv.
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FIG. 9. New York, Museum of Modern Art: Picasso, Les Demoiselles d'Avignon, Oil, 1906-
1907
FIG. IO. Pablo Picasso: Two Nudes, Oil, 19o6 FIG. I I. Madrid, Museo Arqueologico Nacional:
Stone Figures from Cerro de los Santos, ca. 400-
200 B.C.
'eighties and 'nineties in France. But it is also possible that Picasso, in looking for
tonic for the almost decadent formal delicacy which came to dominate his work in
Rose Period, had had recourse to the collections in the Louvre. Even if the original
was given by the work of Puvis de Chavannes, the actual classical figures in the Lo
have been a spur to his interests in the emphatic suggestion of three-dimensionali
began to appear in his work perhaps late in 1905, and certainly in the spring of 1
acceptance of classical influences in all probability opened the door for a gradual t
to the more archaic, or provincially retarded, idiom of the Iberian bas-reliefs and
bronzes, just at the periodwhen archaic Greeksculpture was beginning to receive an
ated homage after a long period of disregard in favor of classical Greek expression
All these tendencies in Picasso's work of 1905 and 1906 are particularly well illu
by his canvas Two Nudes (Fig. io). Here we have the culmination of gradual change
as Mr. Alfred H. Barr, Jr., points out,,4 had been taking place on the plane of sen
from the bathos of the Blue Period through the comparatively impersonal mask
Gertrude Stein and the Self Portraits of 1906. There had been a constantly increasi
tural solidity of form in his figure style since 19o5. And the Two Nudes painted i
the logical outgrowth of both these tendencies. In it we have a complete denial of s
that may even have its roots in the hieratic passivity of much of Iberian art, a flo
conventional ideals of beauty in keeping with the Fauve attitudes of the period,
concrete formal link with Iberian art in the squat proportions of its figures that r
sculptures as those of Cerro de los Santos (Fig. I ).15 The faces of the Two Nudes,
are perhaps closer in appearance to the more indigenous types of the Iberian votiv
than to the heads of the Cerro de los Santos figures.
From such considerations it becomes evident that the Demoiselles d'Avignon o
1907 (Fig. 9) does not represent any specific turning point in Picasso's work so m
large-scale embodiment of various influences which had been working on the pain
pression up to this time. And in it we see the first organization of several differen
of the Iberian figures into a single large composition.
The final version of the Demoiselles d'Avignon evolved from several widely v
studies. The male figure carrying a skull who enters on the left in the earlier studies h
replaced by a female figure pulling back the curtain. This figure, as Mr. Barr poin
has a clear kinship with the left-hand figure of the Two Nudes (Fig. Io), "but more
borrowed from an earlier composition of 1906" (Zervos, op. cit., I, Pls. CLXV and
And while the figure, as taken over into the Demoiselles d'Avignon, has lost mu
squatness, it has retained many of its other Iberian features. These are strikingly
in all the figures in the composition, save perhaps the two farthest to the right. We re
remark a similarity in general construction of the heads to that in such Iberian e
as shown in Figures 6 and 7, a treatment of the eyes similar to that described by
Dixon as characteristic of Iberian art, "larger than in life, with lids like the rim o
and a similarity in the form of the ears to that of the Osuna bas-relief in Figure 2
14. Picasso: Forty Years of his Art, New York, 1939,

impression. For in African sculpture the knees of figures are
P. 59. almost universally slightly bent, and the buttocks are com-
15. In spite of the squat proportions of the figures in this monly steatopygous. Neither of these characteristics is
canvas, the different treatment of the legs from that of evident in the Two Nudes.
African art has always militated against any full attribution i6. Op. cit., p. 60, discussion of Pls. 68, 69, 70.
of African Negro influence here, since the African figures 17. Ibid., p. 6o.
almost universally give a squatting rather than "squat"
From this point onward we begin to see many different

bination to Picasso's work. On the one hand the work
vistas of structural interest: the Autumn Salons of 19
his oils; and the 1907 Salon gave a memorial exhibition
also likely that Picasso made the acquaintance of Negro
Demoiselles d'Avignon. In the statement reported by Ze
completion of that picture preceded his acquaintance w
was very much impressed by African sculpture on his i
as late as 1907, in a canvas such as the Woman in Yello
tremely assertive recrudescence of Iberian influence, perha
than in his earlier work. The pose of the Woman in Ye
such a votive bronze as that from Despefiaperros (Fig. 1
ment of the eyes, nose, and ears, as well as a similar geo
the hair. Still later, in Picasso's 19o09 series of figures
quently find equally close resemblances to the drastic ph
tain Iberian votive bronzes such as that reproduced in
That the reminiscences of Iberian sculpture in Picass
influence of African Negro art is not strange. Stylistic
common. In both we have a predominantly sculptur
primary interest in an organization of simplified volu
regard for conventional naturalistic forms. It is no m
assimilated Iberian influences in the work of Picasso sh
Hellenistic sources. For the art of the Iberian peoples, a
to light during excavations of the last seventy-five years,
In it we may recognize three principal strains: an indi
element, and an Oriental one. In the statuary the tech
ment commonly Oriental, and "the whole conception int
by artists who, ready to learn from Greeks and borrow fr
to certain votive canons of art.""' This mixture of Gre
primarily due to the fact that thefloruit of Iberian art
period in whichGreece and Carthage, and later Greece again
ranean, in other words, between the middle of the sixth ce
This belated Hellenic note is most assertive in Iber
votive figurines found at the great sanctuaries offer a l
were intended to portray the suppliants themselves ra
assume that the long faces and pronounced features fo
probably come much closer to portraiture than do the
"These latter, for example the statues of Cerro de los S
realistic. They were probably intended to represent pr
hieratic depiction was probably regarded as being due. A
versions of early classical Greek models so far as the f
same may be said of the sculptured reliefs from Osuna.
is considerably more to the fore."'9
Nevertheless, as Pierson Dixon points out,20 the Iber
20. Ibid., p. II0.

18. Pierson Dixon, op. cit., p. IIo.
19. Ibid., p. II112.
followed the styles of Greek artists so closely that the actual Greek
In the statue called Aphrodite with the Dove from the Phocaean colo
similar piece of East Greek statuary, we may discern the prototype of t
Santa Elena, Jaen, of a female suppliant offering a dove (Fig. 6). In
quently find a synthesis of oriental influences with a provincially d
fact these features are so marked in the famous Lady of Elche in the Lo
regarded by certain critics as Cypriote. And whether the reason ma
munity of ethnic roots or merely the result of a similar technical
sculptures (for example, Fig. 16)21 strikingly recall African Negro c
of the Dogon region of the Upper Niger in Sudan. Occasionally there
of the characteristic pear-shaped head of the Gabun region.22
However, the importance of Picasso's statement regarding the D
does not lie in the question whether that picture was influenced by Iber
art. It is rather in the fact that here for the first time we are prov
defensible source of those archaistic sculptural influences which hav
as marking his work of 19o5 and 1906. The source of these influenc
ject of loose speculation. Now with Picasso's statement regarding I
larly his interest in those pieces from Osuna which were installed
we have the foundation for a sound attribution.
It is true that the masks of the two figures on the extreme right of the Demoiselles
d'Avignon remain disturbingly dissimilar in form and treatment to the faces of the other
figures in the composition and at the same time more reminiscent of certain Negro masks.
In them we have two elements which differ as widely from the rest of the composition as
does the final Stein mask from the rest of that portrait. In none of the compositional
studies for the Demoiselles d'Avignon do we see a distinct indication of anticipated disparity
of treatment between the masks of the two figures on the extreme right and the others in
the picture. They all appear similarly conceived. We recall Picasso's statement that he
did not encounter Negro sculpture until after the Demoiselles d',Avignon had been painted,
but that his eventual encounter made a great impression on him. The Demoiselles d'Avignon,
like the Stein portrait, was a long time in work; it undoubtedly remained in Picasso's atelier
for a considerable while after completion. With Picasso's treatment of the Stein portrait in
mind, might we not ask ourselves : is it possible that the key to the enigmatically negroid
characteristics of the two right-hand masks, in spite of Picasso's statement to Zervos, might
lie in an analogous treatment? Could Picasso have completed the Demoiselles d'A'vignon
along the lines of the various compositional sketches with which we are familiar, before
having encountered African Negro art; then, after making the acquaintance of Negro art,
could he have painted in the two masks on the right, much as he did the Stein mask on his
return from Spain?
But that is a minor issue. Picasso's statement gives us the evidence that in 190o6 he was
interested in Iberian sculpture and in specific examples which we can locate in the Mus6e du
Louvre. Again, through his testimony a new light is thrown on Picasso's curiously personal
assimilation of the mixed primitivizing and nationalist Fauve influences, and the important
results of these tendencies for his subsequent formal development. Through it we are pro-
vided with a solution of the long-standing enigma of the revised mask in the Gertrude Stein
21. Also Raymond Lantier, Bronzes votifs iberiques, Paris, 22. Ibid., P1. xxvIII, no. 376.
1935, Pl. xiiI, figs. 153, 148, I49.
portrait (Fig. I), in the evident relationship between its

Iberian bas-relief from Osuna, Negro Attacked by a Lion
Louvre in the same year, 1906, and which Picasso claim
his immediate circle. And finally, his statement points
inspiration in Picasso's work which is not limited to the D
odically evinced itself in a more or less mixed,or attenuated
down to the present day.23
NEW YORK UNIVERSITY
histoire1920
23. Compare the features of Two Seated Women, universelle de l'art, Paris, 1932, I, fig. 43); or Picas-
so's
(Barr, op. cit., P1. 155) with those of Figure 2,Acrobat,
and the Jan. r8, 193o with the Iberian Acrobat from
Osunawith
plaster head in The Studio, 1925 (op. cit., P1. 192) in thethe
Mus6e du Louvre.
Bronze Warrior from Despefiaperros (M. Aubert, Nouvelle
FIG. 12. Picasso: Figure Study, Oil, 1909 FIG. 13. Picasso: Figure Study, Oil, 1909
FIG. 14. Iberian FIG. 16. Iberian

Votive Bronze Votive Bronze
FIG. I 5. Picasso: Woman in Yellow, Oil, 1907

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Picasso and Iberian Sculpture

Author(s): James Johnson Sweeney

BY JAMES JOHNSON SWEENEY

were made at Osuna; and in 1906 the results were

3. Paris, Imprimerie Nationale, 1906.

And the fact that these expressions were a part of P

'''~ iC:?' ? ~??''I':

14. Picasso: Forty Years of his Art, New York, 1939,

From this point onward we begin to see many different

20. Ibid., p. II0.

portrait (Fig. I), in the evident relationship between its

FIG. 14. Iberian FIG. 16. Iberian

FIG. I 5. Picasso: Woman in Yellow, Oil, 1907

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