Instruct: Given a question, retrieve relevant documents that answer the question.
Query: Was Picasso a sculptor?
Pablo Ruiz Picasso (/pɪˈkɑːsoʊ, -ˈkæsoʊ/;[2] Spanish:[ˈpaβlo piˈkaso]; 25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture,[3][4] the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War.
In Paris he associated with the Spanish circle of artists of Montmartre, including Pablo Gargallo, Juan Gris and Max Jacob. In 1918, he developed an interest in the artistic possibilities of welding, after learning the technique whilst working in the Renault factory at Boulogne-Billancourt. This technique would subsequently become his principal contribution to sculpture, though during this period he also painted and —especially— created jewellery pieces. In 1920 he renewed his acquaintance with Picasso, for whom he later provided technical assistance in executing sculptures in iron, participating to Picasso's researches on analytic cubism. He also forged the infrastructures of Constantin Brâncuși's plasters. In the winter of 1927-28, he showed Picasso how to use oxy-fuel welding and cutting. When their friendship re-established itself, Picasso and González collaborated on a piece called "Woman in the Garden" between 1928-1930. From October 1928 till 1932, both men worked together—and in 1932, González was the only artist with whom Picasso shared his own personal art carnet. Influenced by Picasso, the fifty-year-old González deeply changed his style, exchanging bronze for iron, and volumes for lines. González began to formalize a new visual language in sculpture that would change the course of his career.
Les Noces de Pierrette (English:"The marriage of Pierrette") is a 1905 painting by the Spanish artist and sculptor Pablo Picasso. While belonging chronologically to Picasso's Rose Period, it is artistically characteristic of the Blue Period, when the artist faced poverty and depression following the suicide of his friend Carlos Casagemas in 1901.
Painters and sculptors of the Noucentista period are Joaquim Sunyer, Joaquín Torres-García and Manolo Hugué (who was a close friend of Picasso).
The club has exhibited an impressive number of well-known 20th century visual artists. Many of the century's most controversial artists made their United States or midwest solo exhibition debuts at the club including: Alexander Calder, Marc Chagall, Salvador Dalí, Jean Dubuffet, Pablo Picasso, Jackson Pollock, Auguste Rodin, Georges Seurat, and Henri Toulouse-Lautrec. In addition, many artists have given lectures at the Club, including Martha Graham, Kathleen Battle, Leonard Bernstein, Kenneth Branagh and Robert Altman. Aside from visual artists, the Club also has hosted lectures and performances from such prominent musicians as John Cage, Philip Glass, Ramsey Lewis and Igor Stravinsky, and poets W. H. Auden, Gertrude Stein and William Butler Yeats. Most notable among these exhibitions was Picasso's first United States solo exhibition, "Original Drawings by Pablo Picasso" from March 20 to April 22, 1923, by the Arts Club at its installation at the Art Institute of Chicago. (Picasso's work had first been shown the US in a group show in New York curated by Edward Steichen in 1911.) In the 1930s, when Isamu Noguchi was still known as a sculptor, they hosted him. In 1970 when Varujan Boghosian was a timely sculptor known for depicting the legend of orpheus, The Arts Club hosted a showing.
Following Picasso's advice, Sima turns to photography. He's too weak to work as a full-time sculptor, but he continued creating small pieces and engravings, and working in ceramic.
Modernist sculptors largely missed out on the huge boom in public art resulting from the demand for war memorials for the two World Wars, but from the 1950s the public and commissioning bodies became more comfortable with Modernist sculpture and large public commissions both abstract and figurative became common. Picasso was commissioned to make a maquette for a huge -high public sculpture, the so-called "Chicago Picasso" (1967). His design was ambiguous and somewhat controversial, and what the figure represents is not clear; it could be a bird, a horse, a woman or a totally abstract shape.
Picasso's influence was and remains immense and widely acknowledged by his admirers and detractors alike. On the occasion of his 1939 retrospective at MoMA, Life magazine wrote: "During the 25 years he has dominated modern European art, his enemies say he has been a corrupting influence. With equal violence, his friends say he is the greatest artist alive."[91] In 1998, Robert Hughes wrote of him: "To say that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace. ... No painter or sculptor, not even Michelangelo, had been as famous as this in his own lifetime. ... Though Marcel Duchamp, that cunning old fox of conceptual irony, has certainly had more influence on nominally vanguard art over the past 30 years than Picasso, the Spaniard was the last great beneficiary of the belief that the language of painting and sculpture really mattered to people other than their devotees."[92]
Georges Braque (; ; 13 May 1882 – 31 August 1963) was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, and the role he played in the development of Cubism. Braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso.
Clatworthy is considered one of the informal Geometry of Fear group of sculptors, so named by Herbert Read in 1952. Many of Clatworthy's sculptures are bronzes of animals, often with heavilytextured surfaces. His first solo show was at the Hanover Gallery in 1954, and in 1959 his work was shown there with that of Arp, César, Giacometti, Matisse and Picasso.
Picasso was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in mid-1949. In the 1950s, Picasso's style changed once again, as he took to producing reinterpretations of the art of the great masters. He made a series of works based on Velázquez's painting of Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix.
Besides their collection of works by Picasso, the museum also has a collection of the work of the philosopher, inventor, and kinetic sculptor Frank Rebaxes and a collection of sketches by Luis Molledo. There is also a large collection of works by other artists, with a particular emphasis on engravings. There are engravings by Pablo Palazuelo, Manuel Hernández Mompó, Eduardo Arroyo, Rafael Canogar, Manuel Rivera, Arman, Alfonso Albacete, Manuel Quejido and Marc Chagall, and other graphic works by Joan Miró, Christo, Francis Bacon, Joan Brossa, Max Ernst, Antoni Tàpies, Eduardo Chillida, Perejaume, Jaume Plensa, Dokoupil, Oswaldo Guayasamín, Josep Guinovart, Wifredo Lam, Roberto Matta, Henry Moore and others. There are also works by local Malagan artists Manuel Barbadillo, Enrique Brinkmann, Eugenio Chicano, Jorge Lindell, Francisco Peinado, and Dámaso Ruano; works by Carlos Durán, Joaquín de Molina, Diego Santos, and Joaquín Gallego; works by the winners of the Beca Pablo Ruiz Picasso a las Artes Plásticas (Pablo Ruiz Picasso Scholarship for the Plastic Arts); and a small collection of sculpture.
Citing moderns like Picasso, Matisse and Laurens, but also the primitive sculptures from the Cyclades, Bancel's work on forms and design gradually evolved towards purity and simplicity.
In 1922, he moved to Paris to study under the sculptor Antoine Bourdelle, an associate of Rodin. It was there that Giacometti experimented with Cubism and Surrealism and came to be regarded as one of the leading Surrealist sculptors. Among his associates were Miró, Max Ernst, Picasso, Bror Hjorth, and Balthus.
According to Gauguin biographer David Sweetman, Pablo Picasso as early as 1902 became an aficionado of Gauguin's work when he met and befriended the expatriate Spanish sculptor and ceramist Paco Durrio (1875–1940), in Paris. Durrio had several of Gauguin's works on hand because he was a friend of Gauguin's and an unpaid agent of his work. Durrio tried to help his poverty-stricken friend in Tahiti by promoting his oeuvre in Paris. After they met Durrio introduced Picasso to Gauguin's stoneware, helped Picasso make some ceramic pieces and gave Picasso a first "La Plume" edition of "Noa Noa: The Tahiti Journal of Paul Gauguin."
Carl Nesjar (né Carlsen; 6 July 1920 – 23 May 2015) was a Norwegian painter, sculptor and graphic artist. He is best known for his collaborations with Pablo Picasso; serving for nearly twenty years as Picasso's chosen fabricator — the artist who turned Picasso's drawings and scale models into large public sculptures. One such work was Picasso's Regjeringskvartalet murals which are located in Oslo, the city where Nesjar lived for most of his life. He is also known for his series of "Ice Fountains” which can be found in cities around the world.
He was the second-degree uncle of the worldwide famous painter and sculptor Pablo Picasso, through one of his Picasso family nieces.
Manuel Martinez Hugué, better known simply as Manolo (29 April 1872 – 17 November 1945), was a Catalan Spanish sculptor in the noucentisme movement. Although a friend of Pablo Picasso, his style was much closer to that of Aristide Maillol.
According to Gauguin biographer David Sweetman, Picasso as early as 1902 became a fan of Gauguin's work when he met and befriended the expatriate Spanish sculptor and ceramist Paco Durrio (1875–1940), in Paris. Durrio had several of Gauguin's works on hand because he was a friend of Gauguin's and an unpaid agent of his work. Durrio tried to help his poverty-stricken friend in Tahiti by promoting his oeuvre in Paris. After they met, Durrio introduced Picasso to Gauguin's stoneware, helped Picasso make some ceramic pieces and gave Picasso a first "La Plume" edition of "Noa Noa: The Tahiti Journal of Paul Gauguin." In addition to seeing Gauguin's work at Durrio's, Picasso also saw the work at Ambroise Vollard's gallery where both he and Gauguin were represented.
Bolus was part of a generation of sculptors inspired by the constructivist work made by Julio González and Pablo Picasso and continued by David Smith and Anthony Caro. The work of these sculptors rejected the plinth and asserted the work as part of the world rather than separate from it. He studied with David Annesley, Tim Scott, William G. Tucker, Phillip King and Isaac Witkin. These Sculptors first attracted widespread attention at the New Generation exhibition in London's Whitechapel gallery in 1965.
Eugène Anatole Carrière (16 January 1849 – 27 March 1906) was a French Symbolist artist of the "Fin de siècle" period. His paintings are best known for their brown monochrome palette. He was a close friend of the sculptor Rodin and his work influenced Picasso. Some see traces of Carrière's monochrome style in Picasso's Blue Period. 
Maties Palau Ferré (1921-2000), painter and sculptor, disciple of Pablo Picasso, was born and died in Montblanc.
As a curator he was known for two important exhibitions mounted at the Tate Gallery in London; "Picasso: Sculptor/Painter" in 1994 and "Mattisse/ Picasso" in 2002–3, which then voyaged on to the Museum of Modern Art in New York City.
By the turn of the 20th century, Pablo Picasso and Julio González became great friends. González moved to Paris in 1902, but traveled to Barcelona several times in the early 20th century. At the Picasso Museum in Barcelona, their close friendship is verified by a drawn portrait, entitled "Julio González and the Robust Man Seen from Behind". They remained close friends until 1908; scholars do not know why their friendship ended at this time, but based on González archival materials, it appears to be related to previous dispute with Julio's brother, Joan.
Andreou had his first exhibition in Paris in 1951, where he demonstrated the transformation of his style. In the group exhibition "Seven Greek Sculptors", Andreou was characterized as "the most famous Greek sculptor in the capital with a rich, varied and successful work". By the end of the decade, Andreou was widely known in the French art scene and considered an equal to Mondrian, Picasso and Gastaud. In 1982, he was given the lead as chairman of the Paris "Autumn Salon" for sculpture.