MEXICO CITY.- The Museo Nacional de Historia - Castillo de Chapultepec presents Picasso: illustrated books 1944- 1969, BANCAJA collection, through February 28, 2005. Picasso’s work as an engraver is as important and decisive a facet of his production as painting, sculpture or ceramics, and he devoted himself to this activity with particular enthusiasm, dedication and sensitivity. From 1904 until his death, a year never passed without him drawing images onto a metal plate, lithographic stone or linoleum. His engravings can be regarded as a record of his periods and stylistic changes, in addition to constituting a personal diary, an autobiography in which he painstakingly reflected his experiences, even the most intimate.

The selection gives an insight into Picasso’s broad and singular graphic universe and enables the viewer to analyse the artist’s stylistic evolution and technical mastery, which has often been compared to that of Rembrandt and Goya.

The works as a whole also provide a small but significant example of Picasso’s relationship with the complex world of 20th-century literature. Indeed, they range from illustrations for the work of Ramón Reventós, a companion in the adventure of the Arte Joven magazine, to those for the works of authors directly linked to the various avant-garde trends, such as Pierre Reverdy, Yvan Goll and Robert Desnos, and those produced for the texts by Fernand Crommelynck, a writer and owner of the studio at Mougins where Picasso made prints from 1963 until the end of his life, and Rafael Alberti, with whom he shared preoccupations, ideas and a sense of humour, in addition to nationality.

It should be stressed that Picasso’s engravings also underline his extraordinary mastery of drawing, an incredible gift which led him to explore the same theme through very different graphic techniques. As a result, and as some writers have pointed out, at times they resemble an amusement more than a state proof, and at others a formal experiment or monotype. The engravings should thus be considered in their own right and as a substantial part of Picasso’s oeuvre which furthermore conveys, more powerfully and genuinely than other facets of his work, the craftsmanship skills that all great artists should possess.

This exhibition includes the following books, which were illustrated by Picasso between 1944 and 1969: Contrée by Robert Desnos (1944, one etching), Dos contes by Ramón Reventós (1947, four etchings), Corps perdu by André Cesaire (1949, four etchings), Élégie d’Ihpetonga suivi des masques de cendre by Yvan Goll (four lithographs), Balzac en bas de casse et picassos sans majuscule (1959, eight lithographs), Sable mouvant by Pierre Reverdy (1964, ten etchings), Le cocu magnifique by Fernand Crommelynck (1968, 12 etchings) and El entierro del Conde Orgaz by Rafael Alberti (1969, one line engraving and twelve etchings).

The Bancaja collection of graphic work by Picasso is one of most important and complete, encompassing the Suite Vollard (1930-1937), the Suite 347 (1968), the Suite 156 (1970-1972) and the Caisse à Remords (1922-1955), in addition to a series of books illustrated with original engravings and lithographs by the artist. Eight of these books have been selected for this exhibition organised by the State Corporation for Spanish Cultural Action Abroad (SEACEX). The enormous significance of these holdings as regards both quality and quantity makes Bancaja the private institution with the largest collection of graphic work by Picasso in the world. Bancaja is continuing to add to the collection with further series such as Smokers and Family Portrait, which will shortly be placed on display at its exhibition premises.