About This Artwork

Pablo Picasso
Spanish, worked in France, 1881–1973

Man with a Pipe, 1915

Oil on canvas
51 1/4 x 35 1/4 in. (130.2 x 89.5 cm)
Signed and dated, l.r.: "Picasso / 15"

Gift of Mrs. Leigh B. Block in memory of Albert D. Lasker, 1952.1116

© 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Exhibition, Publication and Ownership Histories

Exhibition History

New York, The Modern Gallery, Picasso Exhibition, December 15, 1915–January 3, 1916, cat VI, as Nature Morte, 1915.

Paris, Galeries Georges Petit, Exposition Picasso, June 16–July 30, 1932, p. 38, cat. 103, as L’ Homme á la pipe.

Hartford, Conn., Wadsworth Atheneum, Pablo Picasso, February 6–March 1, 1934, n.p., cat. 30, as Homme à la Pipe, 1916.

São Paulo, Brazil, Museo de Arte Moderna de São Paulo, Exposição Picasso, December 1953–February 1954, pp. 29 and 40, cat. 8 (ill.), as O Homem do Cachimbo–L’ homme á la pipe.

The Art Institute of Chicago, Gallery of Art Interpretation: Presenting the Art Institute's Picassos, September–December 1955, no cat..

New York, Museum of Modern Art, Picasso: 75th Anniversary Exhibition, May 22–September 8, 1957, p. 115 (ill.), as Man with Pipe; traveled to The Art Institute of Chicago, October 29–December 8, 1957.

Philadelphia Museum of Art, Picasso, January 8–February 23, 1958, p. 18, cat. 79 (ill.), as Man with Pipe.

The Art Institute of Chicago, Picasso in Chicago, February 3–March 31, 1968, pp. 26-7 and 113, cat. 23 (ill.), as Man with a Pipe.

New York, Museum of Modern Art, Pablo Picasso: A Retrospective, May 22–September 16, 1980, p. 189 (ill.) as Man with a Pipe.

New York, Whitney Museum of American Art, Picasso and American Art, September 28, 2006–February 4, 2007; traveled to San Francisco, Museum of Modern Art, February 25–May 20, 2007; Minneapolis, Walker Art Center, June 1–September 9, 2007.

Publication History

Galeries Georges Petit, Exposition Picasso, exh. cat. (Paris: Galeries Georges Petit, 1932), p. 38, cat. 103, as L’ Homme á la pipe.

Georges Hugnet, “Picasso ou la peinture au XXe siècle,” Cahiers D’ Art, Numero Special: Exposition d' Œuvres de Picasso aux Galleries Georges Petit (June 1932) p. 37 (ill.), as Homme à la pipe.

Wadsworth Atheneum, Pablo Picasso, exh. cat. (Hartford, Conn.: Wadsworth Atheneum, 1934), n.p., cat. 30, as Homme à la Pipe, 1916.

Christian Zervos, Pablo Picasso II (Paris: Cahiers d’Art, 1942), p. 261, no 564 (ill.), as Homme au chapeau melon assis dans un fauteuil.

Maurice Gieure, Initiation a l’ œuvre de Picasso (Paris: Éditions des Deux Mondes, 1951), pp. 70 and 333, pl. 37, as L’homme à la pipe.

Museo de Arte Moderna de São Paulo, Exposição Picasso, exh. cat. (São Paulo, Brazil: Museo de Arte Moderna de São Paulo, 1953), pp. 29 and 40, cat. 8 (ill.), as O Homem do Cachimbo–L’ homme á la pipe.

Frank Elgar and Robert Maillard, Picasso (Paris: Fernand Hazan, 1955), n.p. (ill.), as Homme au chapeau melon assis dans un fauteuil.

Alfred H. Barr, Jr., Picasso: 75th Anniversary Exhibition, exh. cat. (New York: Museum of Modern Art, 1957), p. 115 (ill.), as Man with Pipe.

Philadelphia Museum of Art, Picasso, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1958), p. 18, cat. 79 (ill.), as Man with Pipe.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1961), p. 357.

Jacques Damase, Pablo Picasso, trans by Haydn Barnes (New York: Barnes & Noble, 1965), pp. 35 and 87 (ill.), as Man Seated in an Armchair.

Yoshiaki Tono, Picasso/Braque, Gendai Sekai Bijutsu Zenshu 7 (Tokyo: Kawade Shobo, 1966), p. 114, pl. 14, as Homme à la pipe.

El Mundo de los Museos, The Art Institute of Chicago (Madrid: Editorial Codex, S. A., 1967), pp. 14 and 72 (ill.), as El hombre de la pipa.

The Art Institute of Chicago, Picasso in Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 1968), pp. 26-7, cat. 23 (ill.), as Man with a Pipe.

John Maxon, The Art Institute of Chicago (New York: Harry N. Abrams, 1970; reprinted London: Thames and Hudson, 1977), pp. 112–113 (ill.), as Man with a Pipe.

Jean Leymarie, Picasso Métamorphoses et unité (Geneva: Éditions d’Art Albert Skira, 1971), p. 42 (ill.), as L’homme á la pipe.

Howard Greenfeld, Pablo Picasso: An Introduction (Chicago: Follett Publishing Company, 1971), pp. 114–115 (ill.), as Man with a Pipe.

Franco Russoli and Fiorella Minervino, L’opera completa di Picasso cubista (Milan: Rizzoli, 1972), pp. 126 and 127, no. 854 (ill.), as Uomo con pipa.

Toshio Nishimura, Picasso (Tokyo: Japan Art Center, 1973), p. 120, pl. 42, as L’homme à la pipe.

Yusuke Nakahara, Picasso and Matisse, Grand Collection of World Art 23 (Tokyo: Kodansha, 1974), pl. 10.

F. A. Baumann, Pablo Picasso: Leben und Werk, (Stuttgart: Hatje, 1976), pp. 86 and 207, fig. 146, as Mann mit Melone.

The Art Institute of Chicago: 100 Masterpieces (Chicago: The Art Institute of Chicago, 1978), p. 133, no. 84 (ill), as Man with a Pipe.

Pierre Daix and Joan Rosselet, Le Cubisme de Picasso: Catalogue raisonné de l'oeuvre peint 1907-1916 (Neuchâtel: Ides et Calendes, 1979), pp. 172–3 (ill.), and 347, no. 842 (ill.), as Homme au chapeau melon assis dans un fauteui (Homme à la pipe).

“The Collections,” Chicago History: The Magazine of the Chicago Historical Society VIII:1 (Spring 1979), p. 37 (ill.).

A. James Speyer and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 63, no. 3D3, as Man with a Pipe.

William Rubin, Pablo Picasso: A Retrospective, exh. cat. (New York: Museum of Modern Art, 1980), p. 189 (ill.), as Man with a Pipe.

Marius de Zayas and Francis M. Naumann, “How, When, and Why Modern Art Came to New York, Arts Magazine 54:8 (Apr. 1980), p. 103, fig. 34, as Man in a Bowler Hat, Seated in an Armchair.

William Rubin, Wieland Schmied, and Jean Clair, Giorgio de Chirico der Metaphysiker, exh. cat. (Munich: Prestel, 1982), pp. 64–5, fig. 22, as Mann mit Pfeife.

Roger Shattuck, et. al., Henri Rousseau, exh. cat. (New York: Museum of Modern Art, 1985), p. 78, fig. 61, as Man with a Pipe.

Pierre Daix, Picasso Créateur: La vie intime et l’oeuvre (Paris: Éditions du Seuil, 1987), p. 153, as Homme au chapeau melon assis dans un fauteuil.

Josep Palau i Fabre, Picasso: Cubism (1907–1917) (Barcelona: Ediciones Polígrafa, 1990), pp. 432 and 433, no. 1293 (ill), as The Man with Pipe.

Carsten-Peter Warncke, Pablo Picasso 1881–1973 I (Cologne: Benedikt Taschen, 1992), pp. 242–243 (ill.), as Homme au chapeau melon assis dans un fauteuil.

Christian Geelhaar, Picasso: Wegbereiter und Förderer seines Aufstiegs 1899–1939 (Zurich: Palladion, 1993), pp. 102, 105, 113, 204, and 207, fig. 90, as Homme au chapeau melon assis dans un fauteuil.

Norman Mailer, Portrait of Picasso as a Young Man: An Interpretive Biography (New York: The Atlantic Monthly Press, 1995), pp. 357, 368, pl. 48.

John Richardson, A Life of Picasso: Volume II 1907–1917 (New York: Random House, 1996), pp. 361, 369 (ill), and 411, as Man in a Bowler Hat.

James N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: The Art Institute of Chicago, 1996), p. 35 (ill.).

Marius de Zayas, edited by Francis M. Naumann, How, When, and Why Modern Art Came to New York (Cambridge, Mass.: The MIT Press, 1996), pp. 30 and 247, fig. 37.

Rosamond Bernier, “Los Picassos de Picasso,” Saber/Ver 26 (Jan.–Feb. 1996), pp. 43, 46–47 (ill.).

Paolo Baldacci, De Chirico 1888–1919, La metafisica (Milan: Leonardo Arte, 1997), p. 245 (ill.), as Uomo in poltrona.

Rafael Jackson, Picasso y las Poéticas Surrealistas: De la biología a lo sagrado (Madrid: Metáforas del Movimento Moderno, 2000), pp. 101–102, fig. 76, as Hombre con bombín.

Elizabeth Cowling, Picasso: Style and Meaning (London: Phaidon, 2002), pp. 266, 285–287, 291, 293, and 296, no. 245 (ill.), as Man in a Bowler Hat.

La epoca de Picasso: donaciones a los museos americanos (Santander: Fundación Marcelino Botín, 2004), pp. 43 and 247, as Hombre con bombín.

Michael Fitzgerald, Picasso and American Art, Exh. cat. (Yale University Press, 2006), p. 57, p. 60, pl. 22.

Tom Gunning, “Cinema and the New Spirit in Art within a Culture of Movement,” Picasso, Braque and Early Film in Cubism, Exh. cat. (Pacewildenstein, 2007), ill. 136, p. 139.

Ownership History

Rolf de Maré (1888–1964), Paris by 1932 [Hugnet 1932]. Eugenia Huici de Errázuriz (1859–1951), Paris, by 1934 [Hartford 1934]. Rolf de Maré, Paris and Sweden, by 1942–1951 [Zervos 1942 and Gieure 1951]. Mr. and Mrs. Leigh Block, Lake Forest, Ill. and Santa Barbara, Calif.; given to the Art Institute, 1952.




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