Nude with a Pitcher

summer 1906

Pablo Picasso
Spanish, active France, 1881–1973

Status: On View, Gallery 391
Department: Modern Art

Artist: Pablo Picasso
Title: Nude with a Pitcher
Place: Spain (Artist's nationality:)
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.: 1906
Medium: Oil on canvas
Inscriptions: Signed, l.r.: "Picasso"
Dimensions: 100.6 × 81 cm (39 5/8 × 31 7/8 in.)
Credit Line: Gift of Mary and Leigh Block
Reference Number: 1981.14
Copyright: © 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Oscar Schürer, Pablo Picasso (Berlin: Klinkhardt & Biermann, 1927), n.p. (ill.), as Hebe.
Städelsches Kunstinstitut, Vom Abbild zum Sinnbild: Ausstellung von Meisterwerken Moderner Malerei im Städelschen Kunstinstitut, exh. cat. (Frankfurt: Städelsches Kunstinstitut, 1931), 44, cat. 184.
Christian Zervos, Pablo Picasso I (Paris: Cahiers d’Art, 1932), 154, no. 330 (ill.).
Joan Merli, Picasso (Buenos Aires: Editorial Poseidon, 1948), n.p., fig. 139, as Muchacha Desnuda.Tate Gallery, Picasso, exh. cat. (London: Tate Gallery, 1960), 19, cat. 27, pl. 5i.
Pierre Daix and Georges Boudaille, Picasso 1900-1906: catalogue raisonné de l’oeuvre peint (Neuchâtel: Editions Ides et Calendes, 1966), 100, and 298. no. XV.23 (ill.).
National Gallery of Art, 100 Paintings and Drawings from the Collection of Mr. and Mrs. Leigh B. Block, exh. cat. (Washington D. C.: National Gallery of Art, 1967), cat. 36 (ill.).
Denys Sutton and Paolo Lecaldano, The Complete Paintings of Picasso: Blue and Rose Periods (New York: Harry N. Abrams, 1968), 113, no. 305 (ill.), as Nude Woman with Water Jug.
The Art Institute of Chicago, Picasso in Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 1968), 17, cat. 9 (ill.).
Francine du Plessix, “The Flawless Eye: Mary and Leigh Block,” in The Collector in America (New York: A Studio Book, 1970), 111 (ill.), as Girl with Pitcher.
Art Institute of Chicago Annual Report 1980–81 (1981), cover (ill.).
Bulletin of the Art Institute of Chicago 75:4 (Oct.–Dec. 1981), 9 (ill.), as Girl with Pitcher.
Alan Artner, “Art Institute gets four major pieces,” Chicago Tribune (May 1, 1981), 1 (ill.), as Girl With Pitcher.
Alan Artner, “Art Institute’s new ‘jewels’,” Chicago Tribune (May 1, 1981) section 4, 20, as Girl with Pitcher.
Josep Palau i Fabre, Picasso: Vivent (1881–1907) (Barcelona: Ediciones Poligrafa, 1980), 451 and 550, fig. 1254, as Girl with a Pitcher.
Mary Matthews Gedo, “A Youthful Genius Confronts His Destiny: Picasso’s Old Guitarist in The Art Institute of Chicago,” Museum Studies 12.:2 (1986), 156–157 and 159, fig. 6.
James N. Wood and Katherine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1988), 114 (ill.), as Girl with Pitcher.
Hermitage Museum, Ot Delakrua do Matissa, exh. cat. (Leningrad: Hermitage Museum, 1988), cat. 48 (ill.).
Patricia Leighten, Re-Ordering the Universe: Picasso and Anarchism, 1897–1914 (Princeton, N. J.: Princeton University Press, 1989), 81, fig. 54.
Anatoly Podoksik, Picasso: The Artist’s Works in Soviet Museums, trans. by Vladimir Malakhov (New York: Harry N. Abrams, 1989), p. 56 (ill.), as Girl with Pitcher, Pierre Daix, Picasso (Paris: Chêne, 1990), 151, fig. 2.
Gary Tinterow, Picasso Clasico, exh. cat. (Malaga: Palacio Episcopal, 1992), 68, 87, and 203, cat. 9 (ill.).
Jan van Adrichem,“Collectors of Modern Art in Holland: Picasso as Pars pro Toto, 1920-40,” Simiolus: Netherlands Quarterly for the History of Art 22, no. 3 (1993), 153.
Elizabeth Cowling and John Golding, Picasso: Sculptor/Painter (London: Tate Gallery, 1994), 230, fig. 57, as Girl with a Pitcher.
Judith A. Barter, Douglas W. Druick, and Charles F. Stuckey, Masterworks of Modern Art from The Art Institute of Chicago, exh. cat. (Nagaoka, Japan: Niigata Prefectural Museum of Modern Art, 1994), 88–89, cat. 22 (ill.).
Marilyn McCully, Picasso: The Early Years, 1892–1909, exh. cat. (Washington, D. C.: National Gallery of Art, 1997), 8, 320–321, 364, cat. 152 (ill.), as Girl with a Pitcher.
Marylin McCully, Picasso, Painter and Sculptor in Clay, exh. cat. (London: Royal Academy of Arts, 1998), 29 (ill), fig. 17.
Marilyn McCully, Picasso: scolpire e dipingere, La ceramica, exh. cat. (Ferrara: Ferrara arte, 2000), 34 (ill.), as Regazza con Brocca.
Jan van Adrichem, De ontvangst van de moderne kunst in Nederland 1910-2000: Picasso als pars pro toto (Amsterdam: Prometheus, 2001), 200–201 (ill.).
María Dolores Jiménez-Blanco, “Picasso clásico,” in Picasso (Madrid: Fundación Cultural Mapfre Vida, 2002), 79 (ill.).
Washington DC, The National Gallery of Art, Picasso: The Cubist Portraits of Fernande Olivier (Washington DC: The National Gallery of Art, 2003), 7, fig. 2, as Girl with a Pitcher.
Stephanie D’Alessandro, Picasso and Chicago: 100 Years, 100 Works (Chicago: The Art Institute of Chicago, 2013), 39, pl. 11.
Stephanie D’Alessandro, The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago (Chicago: The Art Institute of Chicago, 2014), 54 (ill.).
Kenneth Brummel, Susan Behrends Frank, Marilyn McCully, Patricia Favero, Eduard Vallès, Sandra Webster-Cook, Picasso: Painting the Blue Period, exh. cat. (New York: DelMonico Books; Toronto: Art Gallery of Ontario; Washington D.C.: The Phillips Collection, 2021), 250, 251 (color ill.), 315, 325.
Manuel Segade, Eugenio Carmona, and Pablo Salazar, Picasso 1906: The Turning Point, exh. cat. (Madrid: Museo Nacional Centro de Arte Reina Sofía, 2024), 34, 35, 40, 76, fig. 22, 133 (color ill.), 281.

Frankfurt, Städelsches Kunstinstitut, Vom Abbild zum Sinnbild: Ausstellung von Meisterwerken Moderner Malerei im Städelschen Kunstinstitut, June 3–July 3, 1931, cat. 184, as Mädchen mit Krug.
The Hague, Gemeentemuseum, Hedendaagsche Fransche Kunst, Feb. 15–Mar. 15, 1936, cat. 89, as Hebe, Halffiguur Naakt in Rooden Toon.
London, Tate Gallery, Picasso, July 6–Sept. 18, 1960, cat. 27, as Girl with Pitcher.
Washington, National Gallery of Art, 100 Paintings and Drawings from the Collection of Mr. and Mrs. Leigh B. Block, May 4–June 11, 1967, cat. 36, as Girl with a Pitcher; Los Angeles County Museum of Art, Sept. 21–Nov. 2, 1967.
The Art Institute of Chicago, Picasso in Chicago, Feb. 3–Mar. 31, 1968, cat. 9 (ill.).
The Art Institute of Chicago, The Art of the Edge: European Frames 1300–1900, Oct. 17–Dec. 14, 1986, as Girl With Pitcher.
Madrid, Museo Nacional Centro de Arte Reina Sofía, Picasso 1906: The Turning Point, Nov. 15, 2023-Mar. 4, 2024, no cat.
Leningrad, Hermitage Museum, Ot Delakrua do Matissa, Mar. 15–May 10, 1988, cat. 48; Moscow, Pushkin Museum, June 10–July 30, 1988.
Malaga, Palacio Episcopal, Picasso Clasico, Oct. 10, 1992–Jan. 11, 1993, cat. 9, as Desnudo con jarra.
Nagaoka, Japan, Niigata Prefectural Museum of Modern Art, Masterworks of Modern Art from The Art Institute of Chicago, Apr. 20–May 29, 1994, cat. 22; Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, Aug. 6–Sept. 25, 1994.
Washington, National Gallery of Art, Picasso: The Early Years, 1892–1909, Mar. 30–July 27, 1997, cat. 152, as Girl with a Pitcher; traveled to Boston, Museum of Fine Arts, Sept. 10, 1997–Jan. 4, 1998.
Chicago, Art Institute of Chicago, Picasso and Chicago, Feb. 20–May 12, 2013, cat. 26.
Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014, no cat. no.
Toronto, Art Gallery of Ontario, Picasso: Painting the Blue Period, Oct. 9, 2021–Jan. 23, 2022 (extended from Jan. 16th), no. cat. no.; Washington D.C.; The Phillips Collection, Feb. 26–June 12, 2022 (Washington D.C. only).
Madrid, Museo Nacional Centro de Arte Reina Sofía, Picasso 1906: The Turning Point, Nov. 15, 2023-Mar. 4, 2024, no cat. no.

Dr. Gottlieb Friedrich von Reber (1880–1959), Lausanne, by 1927 [Schürer 1927]; probably sold to A. E. von Saher, by 1936 [The Hague 1936; van Adrichem 1993, 153]. Alfred Richet (1893–1992), Paris, until c. 1960 [Daix and Boudaille 1967, and email from Pierre-Jean Furet, June 15, 2001; copy in curatorial file]. Edward F. W. James (1907–1984), London, by 1960 [London 1960]. Mary and Leigh Block, Chicago, by 1967 [Daix and Boudaille 1967]; given to the Art Institute, 1981.

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