Pablo Picasso was not only the greatest painter and most innovative sculptor of the 20th century; he was also its foremost printer. His published prints total approximately 2000, including images pulled from metal, stone, wood, linoleum and celluloid. His unpublished prints, perhaps 200 more, have yet to be exactly counted.
Picasso’s prints demonstrate his intuitive and characteristic ability to recognize and exploit the possibilities inherent in any medium in which he chose to work. Once he had mastered the traditional methods of a print medium, such as etching on metal, Picasso usually experimented further, pursuing, for example, scarcely known intaglio techniques such as sugar-lift aquatint.
Early on the copperplate, with its variants of the etching and drypoint, fascinated the young artist. In the Parisian ateliers of the masters of this craft—Eugene Delatre, Louis Forn, and above all Roger Lacouriere—he was introduced to many new techniques. Picasso later acquired his own press on which he made many trial proofs and further explored the secrets of printmaking.
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