For many artists living amid the destruction and rebuilding of postwar Europe, artworks of the past offered a sense of continuity and order. In Nude under a Pine Tree, Pablo Picasso looked to the long tradition of figurative painting, including the female nudes of Francisco de Goya. In contrast to his predecessors, however, Picasso placed the monumental figure on rocky terrain, rather than on a plush chaise. He also used bold, modernist forms that reference his own earlier artistic styles: the flattened face, segmented legs and torso, and multiple viewpoints recall some of his Cubist works, and the color palette evokes his classical style of the 1920s.
Date
Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Museum of Fine Arts, Three Spaniards: Picasso, Miro, Chillida (Houston: Museum of Fine Arts, 1962) (ill.).
Beaverbrook Art Gallery, Dunn International Exhibition (Fredericton, New Brunswick, Canada: Beaverbrook Art Gallery, 1963), cat. 70 (ill.).
Brassaï, Conversations avec Picasso (Paris: Gallimard, 1964; London: Thames and Hudson, 1966), fig. 52, as Une Femme Couchée Sous un Pin.
“Dunn International Exhibition: The Best Contemporary Paintings Come to the Tate,” Studio CLXVII (January 1964), pp. 64–65 (ill.), as Female Nude Under a Pine.
National Museum of Modern Art, Pablo Picasso (Tokyo: National Museum of Modern Art, 1964), cat. 133 (ill.).
Segui, Sinichi, Pablo Picasso (Tokyo: San-Ichi Shoho, 1964), pl. 44, as Female Nude Under a Pine.
Art Institute of Chicago Annual Report (1965–1966), pp. 9 and 27.
Tono, Yoshiaki, Picasso/Braque, Gendai Sekai Bijutsu Zenshu 7 (Tokyo: Kawade Shobo, 1966), p. 126, pl. 47, as Femme Nue Sous un Pin.
“Two Masterpieces Are Acquired by The Art Institute,” Chicago Sun-Times (February 19, 1966), p. 3 (ill.), as Nude Woman Under a Pine Tree.
“Accessions of American and Canadian Museums in October-December 1965,” The Art Quarterly XXIX:1 (1966), pp. 76 and 86.
The Art Quarterly XXIX:2 (1966), pp. 171 and 183 (ill.).
Calendar of The Art Institute of Chicago LX:3 (May 1966), p. 2 (ill. cover).
Speyer, A. James, “Twentieth-Century European Painting and Sculpture,” Apollo LXXXIV (September 1966), pp. 222 and 224, fig. 2.
Schulze, Franz, “Picasso’s 70 Years As Art Innovator,” Chicago Daily News (September 14, 1966), p. 68 (ill.).
Zervos, Christian, Pablo Picasso 18 (Paris: Cahiers d’Art, 1967), p. 93, no. 323 (ill.), as Femme Nue Sous un Pin.
El Mundo de los Museos, The Art Institute of Chicago (Madrid: Editorial Codex, S. A., 1967), pp. 14 and 74 (ill.).
Art Institute of Chicago, Picasso in Chicago (Chicago: Art Institute of Chicago, 1968), p. 50, cat. 54 (ill.).
Dufour, Pierre, Picasso 1950–1958, trans. by Robert Allen (Geneva: Editions d’Art Albert Skira, 1969), pp. 70–71 (ill.), as Woman Under a Pine Tree.
Art Institute of Chicago, The Grant J. Pick Collection (Chicago: Art Institute of Chicago, 1970), p. 6–7 (ill.).
Maxon, John, The Art Institute of Chicago (New York: Harry N. Abrams, 1970; London: Thames and Hudson, 1977), p. 276 (ill.).
Leymarie, Jean, Picasso: Métamophoses et unité (Geneva: Éditions d’Art Albert Skira, 1971), p. 66 (ill.).
Marlborough Gallery, Homage to Picasso (New York: Marlborough Gallery, 1971), p. 88, cat. 77 (ill.).
Gallwitz, Klaus, Picasso Laureatus: Sein malerisches Werk seit 1945 (Lucerne: C. J. Bucher, 1971), pp. 152–153, pl. 252, as Woman Lying Under a Pine Tree.
“The Grant J. Pick Collection,” Revue des Beaux Arts (December-January 1971), p. 6.
Sakazaki, Otsuro, Picasso (Tokyo: Shueisha, 1972), p. 138, pl. 64.
Leymarie, Jean, Picasso: The Artist of the Century (New York: The Viking Press, 1972), p. 66 (ill.).
Duncan, David Douglas, Goodbye Picasso (New York: Grosset & Dunlap, 1974), pp. 205, 206–207 (ill.).
Baumann, Felix Andreas, Pablo Picasso: Leben und Werk (Stuttgart: Gerd Hatje, 1976), pp. 182 and 186, fig. 354.
Time (May 26, 1980), p. 81 (ill.).
Speyer, A. James and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 65, no. 3E2.
Duncan, David Douglas, Viva Picasso (New York: a Studio Book, 1980), pp. 83 and 88–89 (ill.).
Gedo, Mary Matthews, Picasso: Art as Autobiography (Chicago: University of Chicago Press, 1980), p. 235, pl. 8, as Nude Beneath a Pine Tree.
Daniel-Henry Kahnweiler, exh. cat. (Paris: Centre Georges Pompidou, Musée national d’art moderne, 1984), p. 94 (ill.).
Wood, James N. and Katherin C. Lee, Master Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1988), p. 151 (ill.).
Duncan, David Douglas, Picasso and Jacqueline (London: Bloomsbury, 1988), pp. 154, 157, and 160–161 (ill.).
Tate Gallery, Late Picasso: Paintings, Sculpture, Drawings, Prints 1953–1972 (London: The Tate Gallery, 1988), p. 161, cat. 10 (ill.).
Centre Georges Pomidou, Le Dernier Picasso: 1953–1973 (Paris: Centre Georges Pomidou, 1988), cat. 15 (ill.).
Auckland City Art Gallery, Pablo Picasso: The Artist Before Nature, exh. cat. (Auckland, New Zealand: Auckland City Art Gallery, 1989), p. 56 (ill.).
Martin, F. David and Lee A. Jacobus, The Humanities Through the Arts, 4th Ed. (New York: McGraw-Hill, 1991), pl. 5.
Picasso (France: ODA Laser Edition, 1992), p. 110, no. 49363 (ill.).
Warncke, Carsten-Peter, Pablo Picasso 1881–1973 II (Cologne: Benedikt Taschen, 1992), p. 553 (ill.), as Femme Nue Couchée Sous un Pin.
Spies, Werner, Pablo Picasso: Die Zeit nach Guernica 1937-1973 (Berlin: Nationalgalerie, 1992), cat. 122 (ill.).
Picasso: Vollard Suite (Madrid: Turespaña, 1993), p. 20 (ill.), as Nude Woman Under a Pine.
Setford, David F., Picasso: A Vision (West Palm Beach, Fla.: Norton Gallery School of Art, 1994), pp. 20 and 49, cat. 27 (ill.).
Wood, James N. and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: The Art Institute of Chicago, 1996), p. 111 (ill.).
Duncan, David Douglas, Picasso Paints a Portrait (New York: Harry N. Abrams, 1996), n.p. (ill.).
Ocaña, Maria Teres, Picasso: Paisaje interior y exterior, exh. cat. (Madrid: Electa, 1999), p. 241 (ill.).
The Picasso Project, Picasso’s Paintings, Watercolors, Drawings, and Sculpture: A Comprehensive Illustrated Catalogue 1885–1973, The Fifties II 1956–1959 (San Francisco: Alan Wofsy Fine Arts, 2000), p. 275, no. 59–013 (ill.), as Nude Woman under a Pine Tree.
Duncan, David Douglas, Photographs: Picasso, exh. cat. (New York: Mitchell-Innes and Nash, 2000), pp. 161–162, and 183, fig. 161, as Ste. Victoire.
“Seeing Beyond the Must-Sees,” The Chicago Tribune (April 18, 2003) (ill.).
Mallen, Enrique, The On-Line Picasso Project (http://www.tamu.edu/mocl/picasso/), no. 59:03 (ill), as Femme Nue Couchée Sous un Pin.
Moscow, Pavilion of Culture, French National Exhibition, August 15–September 15, 1961, cat. 48.
Houston, Museum of Fine Arts, Three Spaniards: Picasso, Miro, Chillida, February 6–March 4, 1962 (ill.).
Fredericton, New Brunswick, Canada, Beaverbrook Art Gallery, Dunn International Exhibition, September 1963, cat. 70 (ill.); traveled to The Tate Gallery, London, November 15–December 22, 1963.
Tokyo, National Museum of Modern Art, Pablo Picasso, May 23–July 5, 1964, cat. 133 (ill.) as Female Nude Under a Pine; traveled to Kyoto, National Museum of Modern Art, July 10–August 2, 1964; and Nagoya, Prefectural Museum of Art, August 7–18, 1964.
Chicago, Art Institute, Picasso in Chicago, February 3–March 31, 1968, pp. 50 and 115, cat. 54 (ill.).
Chicago, Art Institute, The Grant J. Pick Collection, June 20–August 16, 1970, p. 6–7 (ill.).
New York, Marlborough Gallery, Homage to Picasso, October 5–30, 1971, p. 88, cat. 77 (ill.).
London, The Tate Gallery, Late Picasso: Paintings, Sculpture, Drawings, Prints 1953–1972, June 23–September 18, 1988, p. 161, cat. 10 (ill.); traveled to Paris, Musée National d’Art Moderne, February 17–May 16, 1988, cat. 15 (ill.).
Berlin, Nationalgalerie, Pablo Picasso: Die Zeit nach Guernica 1937-1973, December 8, 1992–February 21, 1993, cat. 122 (ill.), as Weiblicher Akt Unter Einer Kiefer; traveled to Munich, Kunsthalle, March 11–June 6, 1993, and Hamburg, Kunsthalle, June 18–August 18, 1993.
West Palm Beach, Fla., Norton Gallery School of Art, Picasso: A Vision, March 2–April 3, 1994, pp. 20 and 49, cat. 27 (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.
Galerie Louise Leiris, Paris, by 1961 [letter from B. Leonovich, Museum of Art, Moscow, to Carole Herman, Apr. 14, 1967; copy in curatorial file]; sold to the Art Institute, 1965.
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