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reveals a significant shift in Picasso's work from his Neoclassicism. Monumental antique forms have here given way to abstract biomorphic forms reminiscent of Stone Age carvings. More importantly, these forms metamorphose to suggest the appearance a woman, constructed from various components, while two red obelisks in the background imply the armchair which this strange creature is seated.

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one of Picasso's earliest works: he was twenty-one, or even less, but his own style is already apparent. He probably painted it in Paris during his second visit, when he was staying with Spanish friends. By that time he had seen, studied, and assimilated contemporary French painting: he had taken Toulouse-Lautrec's way of rendering a visual impression rapidly with a few forceful lines and shrill spots of color, and made it his own.

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The most potent of the small erotic paintings that is brilliantly coloured. The restless, irregular rhythms mapped out by the contours of the tumescene limbs and ruckled drapery amount to a graph of love-making which has just occured, while the woman's thrown-back head and uncovered breast confirm her maenadic ancestry.

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The painting has a surreal-esque and very unnerving nature. Picasso's use of colors and contrast in his work display his mood. Study of this painting will show the way he connected cubism with the surrealist movement.

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Enamoured with Marie-Therese Walter, Picasso embarked on a prolific series featuring her face and profile, which progressively became more lyrical and harmonious. It marked a return to recognised signifiers of beauty as voluptuous curves and sensations of feminine sensuality began to fill the canvas once more.

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The plastic phase of figurative distortion is continued, while the characteristics of the face are pushed and remoulded, as though constructed from modelling clay. As always, Picasso's sense of fun and humour surface: the doll has the real face, whereas that of the child is surreal, a beautiful juxtaposition

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Painted in 1903, just after the suicide death of Picasso's close friend, Casagemas. During this time, the artist was sympathetic to the plight of the downtrodden and painted many canvases depicting the miseries of the poor, the ill, and those cast out of society.

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This painting, Les Demoiselles d'Avignon, was painted in 1907 and is the most famous example of cubism painting. He used distortion of female's body and geometric forms in an innovative way, which challenge the expectation that paintings will offer idealized representations of female beauty.