Abstraction: Background with Blue Cloudy Sky

• Michel Leiris, “Toiles Récentes de Picasso,” Documents 2, 2 (1930), p. 63 (ill.).
• Carl Einstein, Die Kunst des 20 Jahrhunderts, 3rd Edition (Berlin: Im Propyläen, 1931), p. 638, pl. IX.
• Valentine Gallery, Abstractions of Picasso, exh. cat. (New York: Valentine Gallery, 1931), either cats. 17, 20, or 23.
• Lloyd Goodrich, “Exhibitions: Picasso’s Latest,” The Arts 17:6 (Mar. 1931), p. 414 (ill.), as Abstract Forms.
• Alex, Reid and Lefevre, Thirty Years of Pablo Picasso (London: Alex, Reid and Lefevre, 1931), cat. 33 (ill.).
• Herbert Furst, “The Picasso Exhibition at the Lefevre Galleries,” Apollo 13:78 (June 1931), pp. 395 and 397 (ill.).
• “Art Exhibitions: Pablo Picasso,” The Times (London, June 1931).
• Raymond Mortimer, “Picasso,” The Architectural Review 70 (July 1931), p. 21 (ill.).
• Galerie Georges Petit, Exposition Picasso, exh. cat. (Paris: Galerie Georges Petit, 1932), p. 63, cat. 192.
• Kunsthaus Zurich, Picasso, exh. cat. (Zurich: Kunsthaus Zurich, 1932), p. 14, cat. 191.
• New Burlington Galleries, The International Surrealist Exhibition, exh. cat. (London: New Burlington Galleries, 1936), p. 26, cat. 300.
• Frank H. Knight, “Interpreting History,” Saturday Review of Literature XVI:5 (May 29, 1937), p. 5 (ill.), Abstract Forms.
• Per-Olav Zennström, Pablo Picasso (Stockholm: P. A. Norstedt and Söners Förlag, 1948), fig. 37, as Metamorfos.
• Lefevre Gallery, Picasso, exh. cat. (London: Lefevre Gallery, 1953), p. 4, cat. 12 (ill.).
• Christian Zervos, Pablo Picasso VII (Paris: Cahiers d’Art, 1955), p. 124, no. 304 (ill.), as Figure.
• Frank Elgar and Robert Maillard, Picasso (Paris: Fernand Hazan, 1955), n.p. (ill.), as Figure.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1961), p. 357–358.
• Yoshiaki Tono, Picasso/Braque, Gendai Sekai Bijutsu Zenshu 7 (Tokyo: Kawade Shobo, 1966), p. 116, pl. 20.
• The Art Institute of Chicago, Picasso in Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 1968,) p. 33, cat. 34 (ill.).
• Sandra Grung, Supplement to Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1971), p. 86.
• Toshio Nishimura, Picasso (Tokyo: Japan Art Center, 1973), p. 121, pl. 45.
• A. James Speyer and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 64, no. 3D8.
• Dawn Ades, et. al., In the Mind’s Eye: Dada and Surrealism, exh. cat. (Chicago: Museum of Contemporary Art, 1984), p. 208 (ill.).
• Christian Geelhaar, Picasso: Wegbereiter und Förderer seines Aufstiegs 1899–1939 (Zurich: Palladion, 1993), p. 194, included in fig. 218.
• The Picasso Project, Picasso’s Paintings, Watercolors, Drawings, and Sculpture: A Comprehensive Illustrated Catalogue 1885–1973, Surrealism 1930–1936 (San Francisco: Alan Wofsy Fine Arts, 1997), p. 1, no. 30-001 (ill.), as Figure.
• Michael Fitzgerald and Julia May Boddewyn, Picasso and American Art, exh. cat. (New York: Whitney Museum of American Art, 2006), p. 337.

• New York, Valentine Gallery, Abstractions of Picasso, January 1931, cats. 17, 20, or 23, as Abstract Forms, Background with Blue Sky.
• London, Alex, Reid and Lefevre, Thirty Years of Pablo Picasso, June 1931, cat. 33 (ill.).
• Paris, Galerie Georges Petit, Exposition Picasso, June 16–July 30, 1932, p. 63, cat. 192, as Métamorphose.
• Kunsthaus Zurich, Picasso, September 11–October 30, 1932, p. 14, cat. 191, as Abstraktion.
• London, New Burlington Galleries, The International Surrealist Exhibition, June 11–July 4, 1936, p. 26, cat. 300, as Abstraction, Time and Eternity.
• London, Lefevre Gallery, Picasso, May–June 1953, p. 4, cat. 12 (ill.), as Abstraction Fond de Ciel Bleu Nuageux.
• The Art Institute of Chicago, Gallery of Art Interpretation: Presenting the Art Institute’s Picassos, September–December1955, no cat.
• The Art Institute of Chicago, Picasso in Chicago, February 3–March 31, 1968, pp. 33 and 114, cat. 34 (ill.), as Abstraction: Background with Blue Cloudy Sky.
• Chicago, Museum of Contemporary Art, Dada and Surrealism in Chicago Collections, December 1 1984–January 27, 1985, p. 208 (ill.).
• Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, October 6, 2013–February 16, 2014, no cat. no. 

Paul Rosenberg (1881–1959), Paris. Valentine Gallery, New York, by Jan. 1931 [New York 1931]. Lefevre Gallery, London, by June 1931 [London 1931]. Galerie Georges Petit, Paris, 1932 [Paris 1932]. W. Rees Jeffreys, Wivelsfield Green, Sussex, England, by 1936 [London 1936]. Lefevre Gallery, London, 1953 [London 1953]. Sold through Zwemmer Gallery, London, to the Art Institute, 1955.