pablo picasso full name
In 2016, billionaire art collector Wilma Tisch sued a Florida art dealer when she realized that her 1929 Picasso painting was for sale in his gallery. Tisch’s collection was so large that she hadn’t noticed that the painting had gone missing, plucked from the walls by a former housekeeper, who sold it to the dealer. Judges later ordered the artwork returned to its rightful owner. Unfortunately, with Picasso’s artwork continuing to go for big money at auction, thefts will continue to be an issue.
To say that Picasso had a complicated relationship with women is an understatement. Picasso was married twice, but had many lovers throughout his life and left behind four children by three different women. His first wife Olga stayed married to him until she died in 1955, though they had been separated since 1935 when Olga discovered his affair with 17-year-old Marie-Thérèse Walter. As Picasso refused to divide his estate with Olga, per French law, she had no choice but to remain legally married to him.
8. His iconic striped shirt is no ordinary garment
When a Nazi officer saw Guernica he asked Picasso “Was you who did it?” and Picasso is said to have responded, “No, you did!”.
Picasso was the first artist to receive a special honour exhibition at the Grand Gallery of the Louvre Museum in Paris in celebration of his 90 years.
In Barcelona Picasso moved among a circle of Catalan artists and writers whose eyes were turned toward Paris. Those were his friends at the café Els Quatre Gats (“The Four Cats,” styled after the Chat Noir [“Black Cat”] in Paris), where Picasso had his first Barcelona exhibition in February 1900, and they were the subjects of more than 50 portraits (in mixed media) in the show. In addition, there was a dark, moody “modernista” painting, Last Moments (later painted over), showing the visit of a priest to the bedside of a dying woman, a work that was accepted for the Spanish section of the Exposition Universelle in Paris in that year. Eager to see his own work in place and to experience Paris firsthand, Picasso set off in the company of his studio mate Carles Casagemas (Portrait of Carles Casagemas ) to conquer, if not Paris, at least a corner of Montmartre.
One of Picasso’s principal artistic discoveries on that trip (October–December) was colour—not the drab colours of the Spanish palette, the black of the shawls of Spanish women, or the ochres and browns of the Spanish landscape but brilliant colour—the colour of Vincent van Gogh, of new fashion, of a city celebrating a world’s fair. Using charcoal, pastels, watercolours, and oils, Picasso recorded life in the French capital ( Lovers in the Street ). In Moulin de la Galette (1900) he paid tribute to French artists such as Henri de Toulouse-Lautrec and the Swiss Théophile Alexandre Steinlen as well as his Catalan compatriot Ramon Casas.
Picasso made his first trip to Paris, then the art capital of Europe, in 1900. There, he met his first Parisian friend, journalist and poet Max Jacob, who helped Picasso learn the language and its literature. Soon they shared an apartment; Max slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation. Much of his work was burned to keep the small room warm. During the first five months of 1901, Picasso lived in Madrid, where he and his anarchist friend Francisco de Asís Soler founded the magazine Arte Joven (Young Art), which published five issues. Soler solicited articles and Picasso illustrated the journal, mostly contributing grim cartoons depicting and sympathizing with the state of the poor. The first issue was published on 31 March 1901, by which time the artist had started to sign his work Picasso.  From 1898 he signed his works as “Pablo Ruiz Picasso”, then as “Pablo R. Picasso” until 1901. The change does not seem to imply a rejection of the father figure. Rather, he wanted to distinguish himself from others; initiated by his Catalan friends who habitually called him by his maternal surname, much less current than the paternal Ruiz. 
Synthetic cubism (1912–1919) was a further development of the genre of cubism, in which cut paper fragments – often wallpaper or portions of newspaper pages – were pasted into compositions, marking the first use of collage in fine art.