Expertise Report #353 - Picasso - Case For Two Violins

Expert Report Nº 353
FORENSIC ANALYSIS AND CONTEXTUAL HISTORICAL

STUDY: COLLAGE ATTRIBUTED TO PABLO RUIZ
PICASSO
INDEX
CHAPTER I. INTRODUCTION AND PRESENTATION OF THE ART WORK.......... 6

1. 1. Introduction............................................................................................................................. 7
1.2. Presentation of the expertized company ................................................................................. 7
1.3. General Features of the given art work ................................................................................... 9
1.4. Images of the work................................................................................................................. 10
CHAPTER 2. CALLIGRAPHIC ANALYSIS ........................................................ 12

2.1. Subject ................................................................................................................................... 13
2.3. Expertized Signature. Dubitable Signature (DS) ..................................................................... 13
2.4. Signatures under investigation .............................................................................................. 15
2.4.1. Indubitable signature 1 ....................................................................................................... 15
2.4.2. Indubitable Signature 2 ....................................................................................................... 16
2.5. Quality and validity of the documents, art works and its related signatures ........................ 20
2.6. Theoretical and practical grounds.......................................................................................... 20
2.7. Methodology and material applied........................................................................................ 21
2.8. Identification of immutable graphic phenomena of indubitable signatures and evidence of

presence or absence in the dubitable signature ........................................................................... 22
2.8.1. Graphic Phenomenon 1....................................................................................................... 22

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2.8.5. Graphical Phenomenon 5 .................................................................................................... 31

2.9. Typification of graphic phenomena in indubitable signatures and contrasting with dubitable
signature........................................................................................................................................ 33
2.10. Conclusion of this chapter.................................................................................................... 34
CHARTER 3. MICROSCOPIC ANALYSIS AND IDENTIFICATION OF THE WOOD

AND CARDBOARD ..................................................................................... 36
3.1. Methodology to the wood samples ....................................................................................... 37
3.2. Purpose of the investigation .................................................................................................. 37
3.3. Images and presentation of sample 1 .................................................................................... 38
3.4. Conclusion of sample 1 .......................................................................................................... 40
3.7. Methodology for corrugated cardboard sample ................................................................... 47
3.10. Conclusion of this chapter.................................................................................................... 53
CHAPTER 4. PIGMENTS ANALYSIS .............................................................. 54

4.1. Subject .................................................................................................................................... 55
4.2. Purpose .................................................................................................................................. 55
4.3. Identification of laboratory responsible for the execution of the test .................................. 55
4.4. Applied methodology ............................................................................................................. 55
4.4.1. Samples ............................................................................................................................... 55
4.4.2. Description of the sections of the sample selected to the material study of the work
attributed to Pablo Ruiz Picasso.................................................................................................... 56
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4.4.3. Analytical techniques .......................................................................................................... 57
4.5. Summary of results obtained and associated spectra ........................................................... 58

4.6. Conclusions of this chapter .................................................................................................... 60
CHAPTER 5. DOCUMENTARY ANALYSIS ..................................................... 63

5.1 Subject ..................................................................................................................................... 64
5.2. Purpose .................................................................................................................................. 64
5.3. Applied methodology ............................................................................................................. 64
5.4. Images of sections of literary works that are subject to evaluation ...................................... 65
5.5. Documents and their comparatives ....................................................................................... 66
5.5.1. Le Petit Journal .................................................................................................................... 66
5.5.1.1. Identification of the type of paper ................................................................................... 68
5.5.1.2. Identification of black engraving ...................................................................................... 68
5.5.1.3. Identification of the engraving of dotted patterns .......................................................... 69
5.5.1.4. Conclusion of Le Petit Journal comparison ...................................................................... 70
5.5.2. Book Historias de Ruiz de Alarcón ....................................................................................... 70
5.5.2.1. Identification of the back cover of the book cover .......................................................... 73
5.5.2.2. Identification of the texture of the cover liner ................................................................ 75
5.5.2.3. Conclusion of the comparatives of the book Historias de Ruiz de Alarcón ..................... 76
5.5.3. Zizi. Historia de un gorrión de París..................................................................................... 77
5.5.3.1. Identification of Zizi work................................................................................................. 79
5.5.3.2. Conclusion of comparisons of the book Zizi. Historia de un gorrión de París ................. 80
CHAPTER 6. HISTORICAL-CONTEXTUAL ANALYSIS ..................................... 81

6.1. Biographical review by Pablo Picasso .................................................................................... 82
6.2. Picasso and music................................................................................................................... 85

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6.3. Development of cubism ......................................................................................................... 86
6.4. Formal analysis of the collage under study............................................................................ 92

6.4.1. Physical description of the piece......................................................................................... 93
6.4.2. Material identification of the piece .................................................................................... 94
6.4.3. Esthetic analysis of the collage ......................................................................................... 102
6.4.3.1. Description and analysis of the left side of the piece .................................................... 102
6.4.3.2. Description and analysis of the right side of the work................................................... 115
6.4.3.3. The work as collage and sculpture ................................................................................. 119
6.4.3.4. On the literary elements present in the work................................................................ 122
6.5. Conclusions of this chapter .................................................................................................. 127
CHAPTER 7. GENERAL CONCLUSIONS ...................................................... 129

7.1. General Conclusions ............................................................................................................. 130
Bibliography ................................................................................................................................ 133
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CHAPTER I
INTRODUCTION AND PRESENTATION OF THE ART WORK
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1. 1. Introduction
Veritart receives from the lawyer Dr. Antonio Enrique Saavedra Molina, Venezuelan
identification N°1.718.322, as representative of the owner of the art work, a collage
attributed to Pablo Ruiz Picasso in order to perform a physical-chemical, artistic and
calligraphic expert study in scientific terms to explains the technical status about the art
work and the grounds that justify its authenticity.
1.2. Presentation of the expertized company
Veritart is a Company dedicated to the expert analysis of artworks, which has a model of
expertizing that brings together the latest advances in morphological decoding and
authentification of signatures-rubrics and an advanced technological platform of physio-
chemical evaluation of the constituent elements of the of the artwork. Both analytical
lines respond scientifically to the international standards of dating and authentication.
The head of the Company is Mg. Evelyn Aguilera Arce, of legal age, ID Nº. 13.925.352-3,
address for services at Avenida Providencia 2331, of. 502, Providencia neighborhood, city
of Santiago de Chile.
Active Handwriting Expert and Graphology Expert, making reports at public and private
level.
Professional license Nº. 336 P.C.G. (Handwriting and Graphology Expert) at A. P. E. J. U. G.

R. A. C. (Professional Association of Legal Experts in Graphological and Criminological
Sciences).
Earned a degree in Handwriting Expertise awarded by the Institute of Criminological

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Sciences(I.N.C.I.C.), officially approved by A. P. E. J. U. G. R. A. C. and by the Spanish
Association of Criminologists of Galicia.

Degree in Psychology from the University of Arts, Sciences and Communications, Santiago
de Chile.
Delegate in Chile of the Professional Association of Legal Experts in Graphological and

Criminological Sciences of Spain.
Master's Degree in Documentoscopy and Graphology awarded by the University of

Barcelona.
Academic Director and Teacher at Ingpec Ltd. https://www.ingpec.com/ingpec.html
Director of Forensic Studies at Grafogestion Consultant.
http://www.grafogestion.com/ni.html
Director at Veritart. http://www.veritart.com/cv.html
Co-director of the postgraduate program: Specialization in Grafología y Neuroescritura, at

Funiber http://www.funiber.org/areas-de-conocimiento/psicologia-rrhh/especializacion-
en-grafologia-y-neuroescritura/direccion-academica/
Head Teacher of the Master 's in Documentoscopy and Graphology of the University of
Barcelona, in effect in the year 2011. http://www.ub.edu/criminologia/?page_id=78
Teacher of the Research Doctorate in Forensic Science, del Doctorado en Investigación de

las Ciencias Forenses of CFP, Puebla México.
Expert in authentification of signatures of works of art.
Veritart Company has a multidisciplinary team of professionals who report the scientific
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evidence as individual or on behalf of Universities Institutions or museums. This work is

reported and endorsed by Mrs. Evelyn Aguilera Arce as director of Veritart.
1.3. General Features of the given art work
 Classification: Synthetic collage.
 Object: suitcase for two violins with a synthetic collage inside, made with woods,
pieces of paper, cardboards, book covers and black, red and white inks.
 Attributed to the author: Pablo Ruiz Picasso.
 Technique: collage.
 Measures of the close case: 80 cm long x 32 cm broad x 11 cm thickness

(approximated measures).
 Measures of the open case: 80 cm long x 64 cm broad x 5,5 cm thickness

(approximated measures).
 Signature: It has a signature in the right side of the suitcase, in the lower zone.
 General Remarks: At the time when the work is delivered to Veritart for expert
assessment, it is estimated that the date of execution of the work is the year 1914,
which is justified by the constituent materials of the work, several of them with
recognizable date; as well as the artistic style of the collage, compatible with
synthetic cubism, which as an artistic movement spanned the stretch from about
1912 to about 19201.
It is clear that this suggested date will be considered as a data hypothesis,

however, towards the end of the analysis, it will be indicated if that data is
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1
Preckler, A. (2003). Historia del arte universal de los siglos XIX y XX, Volume 2, p. 85. Editorial Complutense,
Madrid.
compatible with the scientific evidence, at which time the date will be rectified, if
necessary.
1.4. Images of the work
Image 1.1. Inside synthetic collage.

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Image 1.2. Close suitcase for two violins
Image 1.3. Signature detail

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CHAPTER 2
CALLIGRAPHIC ANALYSIS OF THE SIGNATURE-RUBRIC ATTRIBUTED TO
PABLO RUIZ PICASSO
Developed by Mg. Evelyn Aguilera Arce2
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2
Veritart Director. See full CV pp. 7-8.
2.1. Subject
Documentary analysis on the signature of the synthetic collage. This opinion is issued
under a promise to speak the truth, acting with the greatest possible objectivity, taking
into account both what it may favor and what is likely to cause harm to any of the parties,
knowing the penal sanctions that can be incurred In case of breach of duty as Expert.
2.2. Purpose
Determine if the signature stamped on a collage attributed to Pablo Ruiz Picasso; actually
corresponds to its authorship.
2.3. Expertized Signature. Dubitable Signature (DS)
I get a synthetic collage made inside a case for two violins. Inside the case, in the right
wing of the collage, appears in its lower left area, a rubric stamped with the name of
Picasso. The signature of this artistic work will be used as the dubbed material, since the
process begins with the reasonable doubt of falsification, however, towards the end of the
analytical process, if there are identity arguments that ensure authenticity, through the
methodologies used, the Signature that at first is considered dubitable, will happen to be
considered authentic material.
The aforementioned signature will be denominated in this act like "Dubitable signature"
(DS).
Below is an image of the work and signature in small size.

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Image 2.1. Above: synthetic collage object under study.
Down: dubitable signature.
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2.4. Signatures under investigation
2.4.1. Indubitable signature 1
I get 1 indubitable signature of the artist Pablo Ruiz Picasso, stamped in 1901, belonging to
the painting called Woman with blue hat. Work of pastel on cardboard, with measures
60.8 x 49.8 cm of the Gallery Rosengart, Lucerne. The firm in study is located in the
bottom right area of the picture.
The signature will be classified as indubitable signature 1.Below is an image of the work
and the signature in small size, maintaining the real proportions.
Image 2.2. Left: Woman with a hat (1901). Right: detail of the indubitable signature1
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2.4.2. Indubitable Signature 2
I get 1 indubitable signature from the artist Pablo Ruiz Picasso, stamped in 1904,
belonging to a painting called The woman and the crow. Work of pastel and watercolor on
paper, measures 64,6 x 49,5 cm of the Museum of Art of Toledo.
The signature under study is in the lower right zone of the painting.
The signature of this artistic work will be used as indubitable signature 2.
Below is an image of the work and the signature in small size, maintaining the real
proportions.
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Imagen 2.3. Left: The woman and the crow (1904). Right: detail of the indubitable signature 2
I get 1 indubitable signature from the artist Pablo Ruiz Picasso, stamped 1906, belonging
to the painting called Self-portrait with palette. Oil on canvas, 92 x 73 cm. Art Museum of
Philadelphia, A.E. Gallatin Collection.
The signature under study is located in the lower left zone of the work.
proportions.
The signature has been accentuated in terms of qualities of contrast and light, in order to
achieve a greater definition.
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Image 2.4. Left: detail of indubitable signature 3. Right: Self portrait with palette (1906)
I get an indubitable signature from the artist Pablo Ruiz Picasso, stamped 1941, belonging
to a painting called Woman sitting on a chair. Oil on canvas, 29,54 cm x 96,52 cm. Currier
Art Museum, Manchester.
The signature under study is located in the upper left side of the work.
proportions. The signature has been accentuated in terms of qualities of contrast and
light, in order to achieve a greater definition.
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Image 2.5. Left: detail of the indubitable signature 4. Right: Woman sitting on a chair (1941)
I get an indubitable signature from the artist Pablo Ruiz Picasso, stamped 1968, belonging
to a painting called Standing female nude and man with pipe; original title: Femme nue
debout et homme à la pipe. Oil on canvas, 162 cm x 130 cm. Rosengart Gallery, Lucerne.
The signature under study is located in the upper right side of the work.
proportions. The signature has been accentuated in terms of qualities of contrast and
light, in order to achieve a greater definition.
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Image 2.6. Left: Standing female nude and man with pipe (1968). Right: detail of indubitable
signature 5
2.5. Quality and validity of the documents, art works and its related signatures
All documents have the following characteristics:
Qualitatively the material is sufficient to emanate a conclusion of certainty or technical

presumption founded, because the variations of graphic impulses, brushstrokes and
differentiated colors of pigments can be observed and best served with the design
program Adobe Photoshop Elements 7.0 And by magnifiers with light and built-in
millimeter scale.
Quantitatively, they are sufficient, since the number of rubrics to be analyzed is adequate
to establish the comparison.
2.6. Theoretical and practical grounds
The graphic gesture depends directly on the brain. The psyche is modified by the soma
and vice versa, giving rise to infinite varieties, writing being a neuromotor process
independent of the organ and language in which it is written.
Writing, although it is a conscious volitional act, to be automated implies a predominance

of the unconscious, which explains the persistence and fixation of the graphic
peculiarities3. It is impossible that in a writing do not appear personal traits.
Graphic signs, the more imperceptible they are, have more value because of the
individuality and scriptural spontaneity implicit in them, escaping of the attempts of
falsification and dissimulation.
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3
Aguilera, E. (2011). Sistema Neuroescritural, pp. 79-95. Inie Editores, Santiago de Chile.
2.7. Methodology and material applied
The study of the documents was carried out taking into account the exploratory
techniques advised by the documentoscopic, making use of the 30x magnification
magnifying glasses with 4x, 6x and 10x magnification, linen testers with millimetre scale,
Varied focuses; computer hardware and adequate photographic material for the
preparation of this report. All that, taking into accounts the following graphoanalytical
criteria: Direct optical observation of the original documents at a magnification of 4, 6, 10
and 30 magnifying.
We proceed to evaluate the authenticity of the signature under study by MT ©

methodology aimed to identify the graphic stamp the author Pablo Picasso, such that,
subsequently compare it with the signature of the collage investigated.
The methodology consisted in an exhaustive comparison with an array of static graphic

phenomena extracted from a universe of 350 indubitable signatures of the author Pablo
Picasso, however, in this study, only 5 signatures have been declared undoubted, with the
purpose of specifying the repertoire of relevant graphic phenomena, Which are the
comparative reference to determine the authorship of the dubitable signature.
To the previous method is added the contrast of those morphokinetic arguments of the
firm that without being of immutable character, contribute to the identity seal of the
investigated author.
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2.8. Identification of immutable graphic phenomena of indubitable signatures and
evidence of presence or absence in the dubitable signature
2.8.1. Graphic Phenomenon 1
Here is the first significant feature of the studied indubitable signatures. This trait
corresponds to the difference between the basilar limit (lowest point) of the first letter
"s", with the basic limitation of the letter "o". It is characteristic of the author Picasso that
the letter "s" is situated lower than the letter "o"; however, there are some signatures in
which the height of the basic constraints of the letter "s" and "o" coincides, therefore,
there is an oscillatory spectrum at the heights of the boundary. This evidence is possible to
notice, limiting the signature according to the referent of universal horizontality,
independent of the direction that the signature has (whether downward, horizontal or
upward). It is particularly blunt, since it even appears in firms that have more than 60
years of accounting difference. From the above, it is possible to say that this trait is
significant in the layout morphology of Pablo Picasso.
Below, the first graphical phenomenon will be exemplified in the 5 undisputed signatures
that have been included in order in the present report, from pages 15 to 19. This
phenomenon will be later contrasted with the dubbed signature, such that the degree of
similarity.
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Line drawn horizontally,
considering the lowest point
of the first letter "s".
of the first letter "o".

Line drawn horizontally, Line drawn horizontally,

considering the lowest point considering the lowest point
of the first letter "s". of the first letter "o".

Line drawn horizontally, Line drawn horizontally,

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considering the lowest point considering the lowest point

of the first letter "s". of the first letter "o".
Image 2.7. Graphic phenomenon 1 in indubitable signatures

Line drawn
Line drawn
horizontally,
horizontally,
considering the
considering the
lowest point of the
lowest point of the
first letter "o".
first letter "s".
Image 2.8 Graphic phenomenon 1 in indubitable signature
In reference to the graphical phenomenon one, the studied signature presents the basic
limitations of the "s" and the "o", at the same height. Although it is not the relative
dimension of tracing that is most repeated in Picasso's indubitable signatures, it does
appear throughout its graphic history, therefore, it is a sufficiently stable morphokinetic
indicator to record it. Consequently, the signature is coincident with a proportion of
Picasso's firms.
It is noted that some of the works that have signatures that have the letter "s" and the
letter "o" at the same height are:
- Woman sitting in an armchair (1920)4
- Woman Sitting (1923)5
- Woman in White (1923)6
- On the beach, Dinard (1928)7

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4
https://www.wikiart.org/en/pablo-picasso/woman-sitting-in-an-armchair-1920
5
https://www.wikiart.org/en/pablo-picasso/seated-woman-1923-1
6
https://www.wikiart.org/en/pablo-picasso/woman-in-white-1923
7
https://www.wikiart.org/en/pablo-picasso/on-the-beach-dinard-1928
Here is the second significant feature of the totality of studied indubitable signatures. This
evidence corresponds to the width of the letters "s". Specifically, all the indubitable
signatures present the first letter "s" wider than the second letter. This condition is
presented in signatures with more than 60 years of scriptural evolution and even if the
indubitable signatures are very irregular in form, this feature remains static, a condition
that reflects the writer's individuality.
From the above, it is possible to say that this trait is significant in the layout morphology
of Pablo Picasso.
Next, the second graphic phenomenon will be exemplified in the 5 undisputed signatures
that have been included in order in this report, from pages 15 to 19. This phenomenon
will be later contrasted with the dubitable signature, such that the degree of similarity is
determined .
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The first "s" has a greater
width than the second "s".




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The first "s" has a
greater width than
the second "s".
Image 2.10. Graphic phenomenon 2 in dubitable signature
In reference to the graphical phenomenon 2, the suspect signature presents a relation of

widths of letters "s" similar to the phenomenon noticed in the indubitable ones, that is to
say, the second "s" is narrower than the first "s", therefore, in reference to this factor
there is coincidence.
Here is the third significant feature of the totality of studied indubitable signatures. This
evidence corresponds to the layout morphology of the letter "o" of the surname Picasso.
In all the studied signatures, the letter is made, beginning the stroke by the upper
quadrants of the same and ending its perimeter, in the upper part of the grapheme.
of Pablo Picasso.
Next, the third graphical phenomenon will be exemplified in the 5 indubitable signatures
that have been included in order in the present report, from pages 15 to 19. This
phenomenon will be later contrasted with the dubitable signature, such that the degree of
similarity.
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The letter "o" is made starting
from the upper quadrants and
ending in the upper part of the
grapheme.

grapheme.

grapheme.

grapheme.

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grapheme.

grapheme.
In reference to the graphic phenomenon three, the studied signature presents the
configuration of the letter "o", beginning with its upper quadrants and ending its
perimeter by the upper part of the grapheme. Consequently, the dubitable signature is
coincident with the authentic signatures of Picasso.
2.8.4. Graphic phenomenon 4
Here is the fourth significant feature of the totality of the studied indubitable signatures.
This evidence corresponds to a relative dimension of tracing; specifically, to the spacing
between graphemes "P", "i" and "c". Indeed, the morphokinetic imprint of Picasso's
authentic signatures shows that the spacing between the letters "P" and "i" is usually
greater than the spacing between the letters "i" and "c". This evidence is complemented
by the occurrence in some signatures that have similar spacing between the "P", "i" and
"c". Consequently, this graphical phenomenon considers an oscillatory spectrum ranging
from the same type of spacing between the graphemes mentioned, until the space
between the "P" and the "i" is greater to the content between the letters "i" and "c ".
of Pablo Picasso.
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Next, the fourth graphic phenomenon will be exemplified in the 5 indubitable signatures
that have been listed in order from pages 15 to 19. This phenomenon will be later
contrasted with the dubitable signature, so that the degree of similarity is determined.
The spacing between the "P" and
the "i" is greater than the spacing
between the "i" and the "c".




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Image 2.12 Graphic phenomenon 4 in the indubitable signatures

The spacing between the
"P" and the "i" is greater
than the spacing between
the "i" and the "c"
Image 2.13. Graphic phenomenon 4 in the dubitable signature
In reference to the graphical phenomenon four, the suspect signature presents a greater
spacing between the letters "P" and "i", than between the letters "i" and "c".
Consequently, the dubitable signature is coincident with the authentic signatures of
Picasso.
2.8.5. Graphical Phenomenon 5
The following is the fifth significant feature of studied indubitable signatures. This
evidence corresponds to the location of the rubric base in relation to the base of the
letters "c" and "o". In fact, of the universe of analyzed Picasso signatures, there is a group
that has baseline. Of that group, the line never touches the basilar limitation of the letters
"c" and "or", simultaneously. This dimensional relationship occurs independently of the
extension of the baseline and the oscillation of the basilar limitation of the complete
signature.
of the signature of Pablo Picasso.
The fifth graphical phenomenon will then be shown in the 5 indubitable signatures that
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have been included in order in this report, from pages 15 to 19. This phenomenon will be
later contrasted with the dubitable signature, so as to determine the degree of similarity .
The signature line never touches
the letters "c" and "or",
independent of the extension of
the line and the oscillation of the
basilar limitation of the
complete signature.
This signature is of the type that

does not present baseline.

complete signature.

complete signature.

complete signature.
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Image 2.13. Graphic phenomenon 5 in the indubitable signatures

The signature line never
touches the letters "c"
and "or", independent of
the extension of the line
and the oscillation of the
complete signature.
Image 2.14. Graphic phenomenon 5 in the dubitable signature
In reference to the graphical phenomenon five, the suspect signature is of the type that
presents baseline and in this context, the base of the letters "c" and "or", do not touch the
indicated line, which is manifested simultaneously and independently Of the extension of
the line and of the oscillation of the basilar limitation of the complete firm. Consequently,
the dubitable signature is coincident with the authentic signatures of Picasso.
2.9. Typification of graphic phenomena in indubitable signatures and contrasting with

dubitable signature
Typification of graphic phenomena appeared in the indubitable Presence of graphic

signatures phenomena in the
dubitable signature
1 It is characteristic of the author Picasso that the letter "s" Yes it presents
is situated lower than the letter "o", however, there are
some indubitable signatures in which the height of the
basic constraints of the letter "s" and "o" coincide.
2 All the indubitable signatures present the first letter "s" Yes it presents
wider than the second letter.

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3 The letter "o" is made starting from the upper quadrants Yes it presents
and ending in the upper part of the grapheme.
4 The spacing between the "P" and the "i" is greater than Yes it presents
the spacing between the "i" and the "c".
5 The signature line never touches the letters "c" and "or", Yes it presents
independent of the extension of the line and the

oscillation of the basilar limitation of the complete
signature.
Total of similarity 100%
2.10. Conclusion of this chapter
In the opinion of this expert, with the documents analyzed, by virtue of the data obtained
and exposed, acting with objectivity and to the best of his knowledge, the following
conclusion is established:
Morphokinetic technical arguments exist that allow to assert that the rubric stamped in
the artistic work, synthetic collage, without name; is indeed the work of the Spanish
painter and sculptor Pablo Ruiz Picasso.
Grounds of this conclusion are:
The MT © methodology requires an exhaustive selection of graphical phenomena of

relatively immutable character in all the indubitable signatures that are available for
study, that is, that the graphic evidences do not vary in their nature or are kept within a
limited oscillatory spectrum, even if there are years of scriptural evolution that
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differentiates them.
In this research, 5 indubitable signatures have been collected, which are the succinct
representation of 350 authentic signatures selected as samples, which have been
executed between 1901 and 1968. This stretch of years shows that there is a difference of
time that surpasses - in some cases - 60 years of graphic evolution, therefore, the mere
existence of graphical indicators that surpass the impact of the years, are significant and
conclusive in themselves, since, they have been able to remain stable , independent of the
apparent form of each firm and its book development, which is subject to various
exogenous and endogenous factors and to the change in the fine motor that happens over
the years. In this sense, the 5 graphical factors have the highest weight of similarity, due
to their relative immutability.
When we talk about relative immutability in this methodology, it is clear that the
condition of "relative", is subject to the universe of 350 signature investigated of Picasso,
which implies that on the basis of that number, is that immutability and not on the totality
of the existing signatures of Picasso.
Complementarily, the graphic phenomena researched are under the arbitrariness of the
relative dimensions of tracing, that is, proportions and dimensional relationships that the
human eye fails to notice or imitate without evidence of malicious adulteration.
The dubitable signature has fulfilled fully and simultaneously with the five graphic
phenomena declared in this report, which confirms the fact that the signature of the
collage, collected the morphological characteristics necessary to assert morphokinetic
similarity with the 350 indubitable signatures investigated, which shows correspondence
and compatibility with the graphic identity seal of Pablo Ruiz Picasso.
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CHARTER 3
MICROSCOPIC ANALYSIS AND IDENTIFICATION OF THE WOOD AND

CARDBOARD SHAVING SAMPLES OF SYNTHETIC COLLAGE ATTRIBUTED TO
PABLO RUIZ PICASSO
Developed by Mónica Rallo de la Barra8
Coordination and editing Mg. Evelyn Aguilera Arce9
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8
Medical Technologist, specialist in anatomy of wood, Universidad of Chile.
9
Director of Veritart. See full curriculum in pp. 7-8 of this report.
For the analysis and microscopic identification of wood chips and cardboard, two samples
of wood fragments and a sample of corrugated cardboard, from a synthetic collage
attributed to Pablo Ruiz Picasso, were studied.
These samples were extracted and delivered directly for identification by Evelyn Aguilera
Arce, director of Veritart.
3.1. Methodology to the wood samples
According to the in situ sampling of the collage, the macroscopic characteristics of the
wood were observed. Microscopic cuts of the wood chips were also carried out using a
scalpel, in two study planes, whereby radial and tangential longitudinal sections were
obtained, which were observed with light microscopy of transmitted light, thus obtaining
representative digital images (photomicrographs) Of the anatomical structure of each cut.
The samples were described microscopically, according to the Microscopic Characteristics

List for identification of IAWA hardwoods 198910 and in the List of Microscopic
Characteristics for Identification of IAWA 200411 coniferous woods.
The information obtained in the analyzed samples was compared with microscopic
samples of reference and specialized bibliography.
3.2. Purpose of the investigation
Determine the type of woods used in the collage object of study, as well as the technical
argument that proves the effective use of corrugated cardboard. All of the above, with the
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10
IAWA Committee (1989). IAWA List of microscopic features for Hardwood identification . IAWA Bull., n.s.10
(3): 219-332.
11
IAWA Committee (2004). IAWA List of microscopic features for Softwood identification. IAWA Journal, 25
(1): 1- 70.
purpose of specifying compatibility with the materials used in Picasso's collages and
sculptures.
3.3. Images and presentation of sample 1
A B
C D
Image 3.1. sample 1. A. Foreface, lower violin. B. Later face, yellowish wood, tangential plane wide growth rings
are observed. C. Zone extraction samples of chips. D. Wood chips used in the identification of wood.
Photography A, B and C, Evelyn Aguilera Página 38/136
A B C
Image 3.2. Sample 1. A. Vessel element with circular intervessel scores. B. Detail of a vessel with inter-
vascular scores with alternate arrangement. C. Homogeneous woody radio, composed only of procumbent
cells
A B
Image 3.3. Sample 1. Radial cuts. A. Large, round to oval vascular radiographic scores.
B. Detail vascular radiographic scores
Página 39/136
Sample 1 presents the following features:
 Perforation plates simple.
 Intervascular pits urather large, alternate or opposite in oblique rows.
 Ray vessel pits large, oval to rounded.
 Libriform fibres thin-walled.
 Rays exclusively uniseriate.
 Rays unstories, homocellular.
3.4. Conclusion of sample 1
Sample 1 (shavings, lower violin) corresponds to a species of Latifoliada (Angiosperma), of

the genus Populus sp., belonging to the family Salicaceae. The best-known species are
Populus deltoides Bart. ex Marsh, Populus nigra L., Populus alba L., Populus tremula L.
their common name is "Poplar".
Although the origin of these species is the northern hemisphere, they can be found in
both Europe and North America, as well as in South America.
It is characterized by a porous white wood, cream, beige or pale yellow. Fine texture to
medium (fine grain). Its density varies between 0.380 and 0.530 gr. / cm3, with an average
density of 0.450 g / cm3.
It is a wood easy to work and allows gluing without problems; however, it badly admits
the varnish for its porosity. It is poorly resistant to moisture and decay, but permeable to
Página 40/136
preservatives. It is used for non-decorative turning works, toys, drawing boards, matches,
veneers, thin and plywood boards, musical instruments, pulp and paper.
Poplar is the most used wood for packaging, such as boxes for food and fruit. García
mentions that it was used for marquetry, generally for staining, Populus nigra and Populus
alba. He also points out that in the early part of the second half of the 13th century,
Populus alba L. and other Populus sp., in most panels of central Italy12.
In relation to the objective of this analysis, it is possible to indicate that the poplar is a
type of wood of known use in the sculptures of Picasso; such is the case of the work called
Still Life (1914), which was made with poplar wood, as the study by Jackie Heuman13
credits.
Image 3.4. Death Nature (1914)
12
García, J. (2010). La madera y materiales derivados en la fabricación de soportes artísticos: aportación
Página 41/136
estructural y estética. Doctoral memory. Universidad Complutense de Madrid. Faculty of Fine Arts,
Department of Painting.
13
Heuman, J. (2009) A Technical Study of Picasso's Construction Still Life 1914, Tate Papers, no.11, Spring.
Recovered from: http://www.tate.org.uk/research/publications/tate-papers/11/technical-study-of-picasso-
construction-still-life-1914
In the studied collage and more specifically in the section that occupies poplar wood, it is
interesting to note that the author does not use any varnish, leaves the raw wood,
without a varnishing treatment that covers the surface of the wood, evidence absolutely
compatible with the porosity of the wood, which at the same time suggests that the
author may have known the technical attributes of the poplar, a condition that would
explain its correct use in reference to non-varnishing treatment.
A B
C D
Image 3.5. Sample 2. A. Foreface, Upper violin. B. Back side, light colored wood, radial plane. C. Zone
Página 42/136
extraction samples of chips. D. Wood chips used in the identification of wood. Photography A, B and C,
Evelyn Aguilera.
A B C D
Image 3.6. Sample 2. Tangential cuts. A and B. Uniseriate wood rays. C and D. fusiform wood rays with transverse
resin channels
A B
Página 43/136
Image 3.7. Sample 2. Radial cuts. A. Longitudinal Tracheids with bordered pits. B. Cross-field pitting piceoid and
C
marginal of thin-walled. C. Radial cells with thick and dotted walls, numerous piceoid scores in crossing fields
Sample 2 has the following features:
 Longitudinal tracheids with borderless, uniseriate, sometimes biseriate scores on

rays walls.
 Heterogeneous woody rays of two types, uniseriate and spindle.
 Numerous uniseriate rad, from 1 to 20 cells in height.
 Scarce spindle radii, with 1 or rarely 2 transverse resin channels.
 Transverse resin canals with thick-walled epithelial cells.
 Radial cells with very marked scores on their horizontal and tangential walls.
 Piceoid-type crossing field scores, 1 to 6 (usually 2 to 4) per field.
 Radiotracheids marginal smooth walls in both types of radios.
Sample 2 (shavings, upper violin), corresponds to a species of conifer (Gimnosperma), of

the genus Picea sp., of the family Pinaceae. The most well-known species in Europe are
Picea excelsa L., also denominated Picea abies, Picea orientalis, Picea omorica; In North
America are Picea glauca, Picea mariana and Picea engelmanni.
The origin of these woods is the northern hemisphere; however, they are found in Europe
and North America.
They present colors ranging from white to yellowish to coffee with natural shine. There is
Página 44/136
no difference between sapwood and heartwood. It has notorious growth rings and fine to
medium texture. The wood of these species is light and its density varies from 0.330 to
0.470 gr. / cm3.
They are woods easy to work manually and with machines, allows gluing and painting
without problems. They are used for interior constructions, drawing boards, boxes,
panels, papers, furniture, fine finishes, veneers, laminated wood. Species from central and
eastern Europe are considered the best for making musical instruments such as pianos,
guitars and violins, due to their good resonance quality.
In relation to the purpose of this analysis, it is possible to indicate that this type of wood,
which is commonly referred to as pine wood, is a type of log used in Picasso's sculptures,
such as the work called Still Life (1914), which was made up of twelve pieces of pine and
poplar wood, as is confirmed by the study of Jackie Heuman14.
The following is a comparison between a detail of Picasso's Still Life (1914) and a section
of the collage studied, where it is possible to appreciate the similarity of the material
used, its cuts and veins. As a complement, it is possible to observe also the irregular
nature of the cut of both works, which coincides with the modus operandi of Picasso in
reference to the cut of pieces, a condition that suggests that the author could have used a
saw of transversal cut of 9-10 teeth per inch15.
Página 45/136
14
Heuman, J (2009). Op. Cit.
15
Same suggestion that the TATE institution would have received from the cabinetmaker Jack Warans in
reference to Picasso's Still Life (1914).
Image 3.8. Above: detail of irregular cut of the base of the work Still Life (1914).
Below: detail of the edge of the pine wood section of the synthetic collage
Página 46/136
3.7. Methodology for corrugated cardboard sample
According to the in situ sampling of the collage, the macroscopic characteristics of the
corrugated cardboard were observed, which were later placed in a tube with distilled
water. This preparation was stirred constantly until disintegrating the cells. Five
preparations of the disintegrated elements were then carried out, which were observed
with light microscopy of transmitted light. Digital images (microphotographs) of the
different cellular elements were made.
Cell elements were described and identified according to Panshin & De Zeeuw16,
Adamopolus17 and Safdari, V. et al18.
B C D
Figure 3.9. Sample 3. A. View of the collage. B. Corrugated cardboard C. Fragments of cardboard
used for the study. D. Tube with fragments of cardboard. Photographs A and B Evelyn Aguilera.
Página 47/136
16
Panshin, A.J. and Zeuw, C. (1980). Textbook of Wood Technology. Fourth Edition.Vol. I.
17
Adamopulos, S. (2006). Identification of Fiber Components in Packaging Grade Papers. IAWA Journal,
27(2): 153-172.
18
Safdari, V., Sigarody, M. and Ahmed, M. (2011). Identification of Fibers of Woody and Non-Woody Plant
Species in Pulp and Papers. Pak. J. Bot.,43(4):2127-2133.
A B C D
Image 3.10. Sample 3. Fragments of longitudinal tracheids of conifers. A, B and C. Uniseriate and biseriate areolated
scores. D. Pinoid crossing field scores
A B
Image 3.11. Sample 3. A. Tracheid with spiral thickenings and piceoid crossing field scores. B. Tracheid
with uniseriate bordered scores Página 48/136
A B
Image 3.12. Sample 3. Vascular elements of hardwood. A. Glass of large diameter

and short. B. End of a vessel with scalar perforation
A B
Image 3.13. Sample 3. A and B. Epidermal cells from non-woody plants

Página 49/136
A B
Figure 3.14. Sample 3. Cell elements of non-woody plants. A. Vases with Corn Scores (Corn). B. Other types
of fibers (Bast fibers)
Microscopic analysis of the sample showed the following result:
1. Microscopic elements of conifers.
 Longitudinal tracheids with coiled thickenings.
 Longitudinal tracheids with uniseriate bordered scores.
 Longitudinal tracheids with bordered gingivitis.
 Piceoid and pinoid crossing field scores.
2. Microscopic elements of hardwoods.
 Vessels with simple perforations.
 Vasicentric tracheids.
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 Woody fibers.
3. Microscopic elements of non-woody plants.
 Vessel elements.
 Epidermal cells.
 Parenchyma.
 Fibers.
Sample 3 (corrugated paperboard) presented in its composition, a large number of cellular

elements of non-woody plants. Conifers and broadleaved cells were less frequently found.
The identification of wood species and non-woody plants in pulp, paper and cartons for
packaging was based on the structural characteristics of individual cells.
The identification of conifers was mainly based on the types of scores of the crossfields
between longitudinal tracheids of early wood and radial cells; other diagnostic anatomical
characters are the arrangement of the bordered scores in the longitudinal tracheids, one
or more vertical rows and presence of coiled thickenings in the walls of the tracheids.
In broadleaf the identification of these was centered on the elements vessels, size, shape,
type of perforations, intervessel scores, presence of spiraled or reticulated thickenings
and radio vascular scores. The vasicentric or vascular tracheids have diagnostic value
because they appear in very few species, the wood fibers are very similar between
species, reason why they are discarded in the identification.
Página 51/136
In non-woody plants, species identification was done by the presence of cellular elements
such as parenchyma, epidermal cells, vessels and fibers. The shape, size and ends of the
cells are also observed.
The aforementioned components correspond to the manufacture of cartons for
packaging. Indeed, in their preparation, cell elements of conifers, broadleaf and non-
woody plants are mixed, as well as recycled papers, which undergo different processes
that modify some of the anatomical characteristics of the cells used.
Given the above, there are technical arguments to indicate that the material analyzed, in
fact corresponds to a type of packaging material, specifically to the corrugated
paperboard, as it could be objectified in the macroscopic inspection.
This is compatible with the type of material Picasso has used in some of his works, such as
the collage called Model for the cover of "Minotaur" (1933).
Image 3.15. Model for the cover of

"Minotaur" (1933)
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3.10. Conclusion of this chapter
As the present investigation, has been developed and according to the laboratory results,
it has been obtained that:
The lower area of the composition of the two violins, section 1, is made of poplar wood, a
species compatible with some of the materials that Picasso used in collages and
sculptures, as is the case of the picassian work called Still Life (1914), sculpture made with
pieces of poplar wood.
The upper area of the composition of the two violins, section 2, is made of spruce wood,
commonly referred to as pine wood. This type of wood is compatible with part of the
materials that Picasso used in collages and sculptures, as is the example of the Picasso
work called Still Life (1914), a sculpture that in part of its structure features pine wood.
The packaging material used in the violinist's torso on the left side of the synthetic collage
is corrugated cardboard, which is also compatible with some of the materials that Picasso
used in collages, such as Model for the cover of "Minotaur" (1933).
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CHAPTER 4
PIGMENTS ANALYSIS OF SYNTHETIC COLLAGE ATTRIBUTED TO
PABLO RUIZ PICASSO
Developed by Dr.(C) Tomás Aguayo19

Coordination and editing Mg. Evelyn Aguilera Arce20
Página 54/136
19
Science Faculty, Universidad de Chile, Santiago, Chile.
20
Director of Veritart. See full CV in pp. 7-8 of the present file.
4.1. Subject
Raman Spectroscopy test results report.
This opinion is issued under the promise of telling the truth, acting with the greatest
possible objectivity, taking into consideration both what it may favor and what is likely to
cause harm to either party.
4.2. Purpose
To determine if the selected pigments of the synthetic collage attributed to Pablo Ruiz
Picasso correspond effectively to the palette of the author and if the period of
commercialization of the used pigments is compatible with the date of the work.
4.3. Identification of laboratory responsible for the execution of the test
The study of pigments was carried out in the Vibrational Spectroscopy Laboratory of the
Faculty of Sciences of the University of Chile (LEV-UCh), in charge of Dr. Marcelo Campos
V. and the analyst Dr. (C) Tomás Aguayo C.
4.4. Applied methodology
4.4.1. Samples
Three sampling zones were selected and used to determine the presence of pigments in
sections representative of the work.
Página 55/136
The reason for the selection of sample sites is due to the need to avoid the obvious
deterioration of the work, which is why non-destructive samples were obtained in small
quantities, such that the work was not affected in its state of conservation. Likewise, the
extraction of samples was developed after specifying the absence of repainting, a
condition that could be discarded, by means of direct scanning with Digimicro digital
microscopy with Dual Axis 27 X 100X lens, with digital captures of resolution of 1280 X
1024, together with UV radiation of 400nm, from Veritart's laboratory.
4.4.2. Description of the sections of the sample selected to the material study of the
work attributed to Pablo Ruiz Picasso
Image 4.1.The sample zones are shown in the image with a complete circle
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Number of the Specialist Specialist General Description
sample responsible for the responsible for the
extraction of the analysis of the
sample sample
1 Evelyn Aguilera Arce Tomás Aguayo C. Measure done on the
white sample of the
fingerboard.
2 Evelyn Aguilera Arce Tomás Aguayo C. Measure done on the

red sample of the
edge of the upper
violin.
3 Evelyn Aguilera Arce Tomás Aguayo C. Measure made on

the black of the
stand base.
4.4.3. Analytical techniques
Raman spectra were collected using two instruments:
 The B & W Tek i-Raman portable equipment with the laser excitation line at 1064
nm using a direct optical fiber probe on site.
 The Renishaw RM1000 spectrometer using a 785 nm laser excitation line through a
50X objective. Likewise, the samples were deposited on a copper surface to
decrease the fluorescence.
 In the case of the Renishaw instrument, it was necessary to sample each of the
zones to be analyzed.
Página 57/136
4.5. Summary of results obtained and associated spectra
Number of the General Description Results

sample
1 Measure done on the white Titanium dioxide (TiO2) in the form of
sample of the fingerboard. rutile.
2 Measure done on the red Synthetic organic pigment type

sample of the edge of the diazopirazolone.
upper violin.
3 Measure done on the black of Amorphous carbon.

the base of the holder.
Associated spectrum to sample 1 (White):
Image 4.2. In the spectrum the signals of:

-1
- Titanium dioxide (rutile) (273, 533, 948, 2103 and 2169 cm ).
-1
- Calcium carbonate (CaCO3) (1090 cm ).
Experimental conditions: 25% laser power, 5 accumulations of 10 seconds.
Página 58/136
Associated spectra of sample 2 (red):

- Diazopirazolone red / orange pigment (369, 671, 920,
1053, 1182, 1244, 1280, 1337, 1368, 1428, 1493, 1547 and 1606 cm -1).
- Calcium carbonate (CaCO3) (1092 cm -1).
Experimental conditions: 10%, laser power, 7 accumulations of 12 seconds
Página 59/136

- Amorphous coal (1309 and 1602 cm -1).
Experimental conditions: 1% laser power, 10 accumulations of 10 seconds.
4.6. Conclusions of this chapter
As laboratory analyzes and studies have been developed, it is necessary to:
The spectrum of the white sample shows the signs of titanium dioxide in the form of
rutile. This compound corresponds to a white pigment in itself; however it can be found in
many cases in some clays.
According to the research of Millán del Pozo, about the use of titanium dioxide in Europe,
the following is extracted:
(…) Titanium dioxide as a pigment, has been used scarcely since 1870 to 1895 and
in 1895 it was sold in titanium dioxide preparations in Germany, France, the United
Kingdom and Italy, increasing its progressive use as a pigment, which in all
probability caused Its marketing (...) Max Doerner in 1890 confirms the satisfactory
utilization of the titanium in its mixture with the lithopone, this in itself evidences
its use21.
In the form of rutile, the titanium dioxide would have begun to take place around the year
1945, due to its technical-pictorial properties superior to the anatase, another form of
crystallization of the titanium dioxide that would have been produced exclusively until the
year 193822, However, this explanation of the synthesis and use of titanium dioxide is
controversial, since there is evidence of rutile and anatase in pigments of pre-Columbian
ceramics23, which implies that these forms of crystallization of titanium dioxide occur
21
Millán del Pozo, G. (2009). Modigliani inédito. Tras la huella de su estilo, p. 185. Editorial Universidad
Complutense, Madrid.
22
Duran i Escribà, X. (2011). El artista en el laboratorio: Pinceladas sobre arte y ciencia, p. 56. Universitat de
València.
23
Bugliani, F; Di Lello, C; Freire, E; Polla, G; Petragalli, A; Reinoso, M. y Halac, E. (2012). El uso de
Página 60/136
espectroscopia Raman, rayos X y microscopía electrónica difracción en los análisis de pigmentos de cerámica
vaquerías. Boletín del Museo Chileno de Arte Precolombino , 17 (2), pp. 65-74.
https://dx.doi.org/10.4067/S0718-68942012000200006
naturally, without that the pigment must necessarily be synthesized in a laboratory. This
evidence leaves behind the possibility of using rutile, anatase or titanium dioxide as an
element that chronologically guides an artistic or archaeological piece, nevertheless,
titanium dioxide, for its covering properties, is suggested24 and has been commonly used
in gouache technique, a condition that makes it compatible with the technique used by
Picasso.
Referring to the red pigment, the associated spectrum corresponds to diazopirazolone.

This component is part of the group of synthetic organic pigments (POS), which due to
their physicochemical characteristics have been used in various applications, from the
food industry, to the coloring of polymers, through their use as artistic materials25.
In general synthetic organic pigments (POS) are components with high staining power or
hiding power, which are grouped according to the chemical functions present in their
structures. In general the pigments formulated in the early stages of the synthesis of the
organic pigments were called anilines26. Azo pigments in an early stage were also named
anilines, however, that term has become obsolete.
As already indicated, the Raman spectrum of the red sample shows the characteristic
profile of a type of synthetic pigment called diazopirazolone, one of the pigments
belonging to the sub-group of the diazo pigments.
According to the above, a diazopigment can be identified as aniline, following the logic of
the name it received in the period of the first diazopigments synthesis, however, it is clear
that at present, the nomenclatures have changed and they are not as general as they used
to be.
24
Mayer, R (1992). Materiales y técnicas del arte, p. 122. Tursen Hermann Blume Editors, Madrid.
Página 61/136
25
Herbst, W; Hunger, K. (2004), Industrial Organic Pigments. WILWY-VCH, Weinheim B.H. Berrie y S.Q.
Lomax (1997). Azo Pigments: Their History, Synthesis, Properties, and Use in Artists’ Materials’ Studies in the
History of Art. Monograph Series II. Conservation Research 1996/1997, Washington, DC: National Gallery of
Art, 57, pp. 9–33.
26
Eastaugh, N. et al (2008). Pigment Compendium. Butterworth-Heinemann, Oxford.
Without prejudice of the above, in the cubist period of Picasso, the dazopigmentos were
denominated vulgarly like anilines.
Although the sources that directly refer to the use of the anilines in the work of Picasso
are not explicit, Philip Ball shows the impact of the use of these pigments in the antipodes
of the twentieth century27. At present, museums do not have specific information (due to
the recent emergence of material studies as part of the museum research laboratories),
which makes it difficult to compare the study and other works of the Spanish artist.
However, in the technique known as gouache, anilines were frequently used as dyestuffs
by works of various masters of the period28.
In reference to the black pigment from which the amorphous carbon spectrum was
obtained, it is important to indicate that it is not an indicator of temporality, due to its use
as a material in much of human history, however, it does coincide in part The materials
used by Picasso, as proven by Stan Smith29, Judith Collins and John Welchman30, among
others.
27
Ball report on La invención del color, the emergence of aniline red before 1853 in the hands of Nicholson y
Maule. Ball, P. (2012). La invención del color. Turner Publications, Madrid.
28
Ball refers to the case of Van Gogh, who was one of those who experimented with the use of anilines. Ball,
P. (2008). El reino de la luz. En Métode, Universitat de Valencia. Recuperado de:
http://metode.cat/es/Revistas/Monografics/Materia-de-arte/El-regne-de-la-llum. While Ana Villarquide also
refers to the use of the anilines from the middle of the 19th century "in Spain, England and France, often by
painters like Delacroix." These pigments were "defended as good ... because of the translucent quality they
Página 62/136
possess", although the French pre-Raphaelites and the French impressionists declined their use. Villarquide,
J. (2005). La pintura sobre tela II. Alteraciones, materiales y tratamientos de restauración, p. 69. Nerea
Editors, San Sebastián.
29
Smith, S. (1994). Dibujar y abocetar, p. 25. Akal Editors, Madrid.
30
Collins, J; Welchman, J. (1996). Técnicas de los artistas modernos, pp. 54-55. Akal Editors, Madrid.
CHAPTER 5
DOCUMENTARY ANALYSIS OF THE LITERARY MATERIALS OF THE WORK

ATTRIBUTED TO PABLO RUIZ PICASSO
Developed by Mg. Evelyn Aguilera Arce31
Página 63/136
31
5.1 Subject
Report of results of the documentary evidence of the literary material of the synthetic
collage attributed to Pablo Ruiz Picasso.
This opinion is issued under the promise of telling the truth, acting with the greatest
possible objectivity, taking into consideration both what it may favor and what is likely to
cause harm to either party.
5.2. Purpose
Determine if the literary materials used in the collage attributed to Pablo Picasso, are
authentic and specify a data orientation of the same.
5.3. Applied methodology
We have studied the documents following the exploratory techniques recommended by

the documentary and calligraphic practice, making use of the stereoscopic microscope of
30 magnifications, magnifiers of 4, 6 and 10 increases, counting with millimeter scale,
magnifying glass with light and other elements traditional measurement.
Various spotlights, UV radiation 400 nm; computer equipment and photographic material
suitable for the preparation of this report. All of this according to the following
graphoanalytic criteria: direct optical observation of the original documents at 4, 6, 10 and
30 increases.
Página 64/136
5.4. Images of sections of literary works that are subject to evaluation
Image 5.1. Fragments of literary works present in the collage attributed to Pablo Picasso
Página 65/136
5.5. Documents and their comparatives
5.5.1. Le Petit Journal
The synthetic collage under study presents a section of the violinist's torso, made with
part of the cover of Le Petit Journal, page that is dated 1893 and is absolutely recognizable
by simple optical inspection, it will be necessary to contrast with the original newspaper,
in order to clarify its authenticity.
The original or undisputed newspaper has been obtained from the Bibliothèque du
souvenir de France, a private institution and research organization that distributes
illustrated journalistic magazines of the nineteenth and twentieth centuries. This
transaction included in invoice No. FB-0000278.
The comparisons between both materials are then exemplified, in order to clarify the
authenticity of the document presented in the collage analysis.
Página 66/136
Image 5.2. Le Petit Journal (1893).

Dubitable document of the studied
collage
Indubitable Document
Página 67/136
5.5.1.1. Identification of the type of paper
Section of Le Petit Journal from collage Section of Le Petit Journal original
Image 5.4. Comparative between dubitable Le Petit Journal and indubitable
In this comparison it is possible to observe a similar level of deterioration in both cases.

The edges of the leaves are imperfect, cracked. The sheet in both cases corresponds to old
press paper, with a regular state of conservation, on the subject of manipulation and
changes in temperature, whereby both papers have aged, accentuating the yellowish tone
of their physiognomy.
5.5.1.2. Identification of black engraving
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Image 5.5. Comparative of black ink engraving of Le Petit Journal dubitable and indubitable
In this comparison it is possible to appreciate a line engraving in black color, with similar
characteristics of impression in both cases. In fact, the edge of both prints has a clearer
and more uniform stamping, which differs from the central area of the prints, where there
are blank spaces that did not receive the ink load necessary to cover and soak the paper
surface. In both cases the phenomenon is identical, which suggests the use of a same
matrix, responsible for stamping and impregnating the ink on the paper, as well as the use
of ink of the same type, since the combination of both factors is an explanation of the
behavior that has been stated above.
5.5.1.3. Identification of the engraving of dotted patterns
Image 5.6. Comparative of a dotted engraving of Le Petit Journal dubitable and indubitable
In this comparative one observes a type of engraving to points.
This type of engraving is the result of drawing the image by means of points made in an
array, which allows to stamp several colors in the same support. In both images it is
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possible to observe that the points are red and blue.

Under the microscopic dimension, the dots follow a straight line pattern which in the case
of blue dots is more dense and in the case of red dots, is less repetitive. This distribution
of dotted patterns makes it possible to distinguish a similar shade of color in a context of
direct ocular inspection.
The points, for the most part, are not round, but rather rectangular, detail of the
impression that corroborates the use of the same matrix to make the prints.
Consequently, the comparison of dotted patterns is compatible in both cases.
5.5.1.4. Conclusion of Le Petit Journal comparison
According to the analyzes developed, both the fragment of the French newspaper Le Petit
Journal present in the collage, and the authentic newspaper that has been used to make
the contrasts, correspond to the same type of document, material and engraving. All the
above allows to affirm that the fragment of Le Petit Journal of the collage, is authentic
material, of effective date of 1893.
5.5.2. Book Historias de Ruiz de Alarcón
The synthetic collage object of study presents a hand of violinist, made with part of the
cover of the book Historias de Ruiz de Alarcón. This cover fragment is shown on its rear
face; a reason that prevents it from being visualized with the naked eye, except for the
help of a mirror that, when located below the fragment of the book, shows part of the
letters and diagram of the cover. The cover itself does not show the date of the edition of
the book used in the collage, fundamental datum to locate the work chronologically, is
Página 70/136
why the main purpose of this analysis is to specify if the book used in the collage presents
the material characteristics of the edition of the year 191432, the year in which this work
was first published, by the Araluce publishing house.
To verify the material similarity between the cover of the book used in the collage and the
edition of the book Historias de Ruiz de Alarcón (1914), the original book was obtained in
the bookstore Librosparaty, located in Buenos Aires, Argentina, according to consists of
sale transaction No 1228327800.
The comparisons between both materials will be exemplified in order to specify the data
of the fragment of the book used in the collage studied.
Image 5.7. Image of the fragment of the back side of the book cover Stories de Ruiz de
Alarcón. Part of the front face is visualized with the help of a mirror
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32
Araluce (1914). Historias de Ruiz de Alarcón. Editors Araluce, Barcelona.
Página 72/136
Image 5.8. Above: cover of the book Historias de Ruiz de Alarcón (1914).
Below: print date indication: October 21, 1914
5.5.2.1. Identification of the back cover of the book cover
Section of the book Historias de Ruiz de Section of the book Historias of Ruiz de
Alarcón of the collage Alarcón of 1914
Image 5.9. Details of the back side of the book cover Historias de Ruiz de Alarcón.
Left: collage book (dubbed). Right: original book (1914)
In this comparative the posterior face of the cover of both books is observed. The book of
collage is observed in a state of regular conservation to deficient, which is possible to
demonstrate by the degree of wear of the strands of the cover of the cover that are
visualized towards the edge of the book33, in contrast, the original book of the Year 1914
presents a better state of conservation, condition that can be explained by having been
subjected to better maintenance conditions. Notwithstanding the different state of
preservation of both pieces, it is important to consider that in both cases the paper used
to line the back of the cover is exempt from stamping, a relevant fact that becomes a
priority when compared to Material conditions of the second edition of the book (1933),
which presents as paper lining, a printed sheet34.
Página 73/136
33
See Figure 5.9. Diagram on the left.
34
See picture 5.10. Images from the 2nd edition of the book Historias de Ruiz de Alarcón of 1933.
Página 74/136
Image 5.10. Stories of Ruiz de Alarcón (1933). Above: back side of the cover.
Medium: Cover. Below: indication of the date of editing
5.5.2.2. Identification of the texture of the cover liner
Section of the book Historias de Ruiz de Section of the book Historias de Ruiz de
Alarcón of collage Alarcón of 1914
Image 5.11. Detail of the cover. Left: detail objectified thanks to the reflection obtained through a mirror.
Right: detail of the cover of the book of 1914 and textile stroke of its cover
In this comparison it can be seen that both covers present a different state of
conservation. The cover of the collage presents a degree of deterioration greater than the
cover of the original book of the year 1914. This deterioration and the exposure to
different means intervening in the degree of conservation (like light, humidity, dust and
direct manipulation), justify that the cover of the collage does not show any type of
varnish, as effects of erosion, in contrast in the original book the varnish itself is observed,
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through the brightness and leveling of the texture. This supposes the hypothesis that the
different state of conservation promotes the difference in the varnishing of both covers.
That said, in order to ensure correct testing of materials, a section of the textile was
extracted from the original 1914 book, from the flap section of the back cover, in order to
compare the fabrics without any varnish. In fact, this piece of cloth is free of varnish;
therefore, it shows the fabric and type of textile used.
When comparing both textiles, there is compatibility in the type of fabric and the type of
fiber. The objectified fiber is linen, material of vegetal origin and The structure is of a
regular and open weave, distinctive morphological characteristic of the use of linen35.
Consequently, the type of textile used to line both covers, is compatible in fiber and in the
type of fabric.
5.5.2.3. Conclusion of the comparatives of the book Historias de Ruiz de Alarcón
According to the analyzes developed, both the fragment of the cover of the book Historias
de Ruiz de Alarcón present in the collage analyzed, as the original book of the year 1914,
have compatible material characteristics, suggesting that both were edited the same year.
It is evident that the main distinctive feature of this edition (1914) is the use of a paper
liner (back side of the cover), free of stamping; a condition that is not compatible with the
edition of 1933, which did have stamping, therefore, this argument is what becomes the
main data indicator.
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35
Huertas, M. (2010). Materiales, procedimientos y técnicas pictóricas I, p. 117. Editors AKAL, Madrid.
5.5.3. Zizi. Historia de un gorrión de París
The synthetic collage object of study, presents in the face of the violinist and in his fist,
fragments of the cover and the back of the book Zizi. Historia de un gorrión de París.
According to the information that it was possible to collect from the book Zizi, it was
obtained that it was only published in the year 1892 by the publishing house Garnier
Frères36, without finding evidence of more editions, except for a tangential data,
indicating the existence of another edition in 1910. This argument corresponds to part of
the doctoral thesis developed by Denise Fisher for the Universitat Rovira i Virgili in 1994
and published in the year 2014, which indicates:
After spending thirty-eight years in Paris, Vinardell returned to Spain in 1925, settled down
in Gerona and transferred to the city his library (about 3500 volumes) and his collection of
works of art (70 copies of old painting or sculpture). The City council of Gerona named him
conservative of the Municipal Popular Library that received these works.
Translations of Vinardell published in Paris:
-Cherrin, Dr: Stuttering and other pronunciation defects, Paris, Société d'Editions Scientifiques.
1896.
-Demesse, H.: Zizi. Historia de un gorrión de París, counted by himself, Paris, Garnier H. 1892, (id.)
And 1910 (BNF)37.
In the quote is explicit an edition of Zizi for the year 1910, however, it has not been
possible to corroborate with the primary source, the publisher Garnier Frères, that this
argument is completely correct, doubt that is increased mainly, by other information that
reports the same author Denise Fisher in her thesis, referring to the translation into
Spanish of the books of the publishing house Garnier. In this section explains that there
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36
Demesse, H. (1892). Zizi. Historia de un gorrión de Paris. Editors Garnier Frères, Paris.
37
Fisher, D. (2014). El libro español en parís a comienzos del siglo xx. Escritores i traductores, p. 460.
Universitat Rovira i Virgili.
would be two editions of the book Zizi translated into Spanish, one from the year 1892
and another from the year 1912:
The list of translations, whose data we give below, has been made not by the collections of
the p
(...)
DEMESSE, HENRI (...)
Zizi. Historia de un gorrión de París, Trad. Arturo Vinardell Roig. Paris, Garnier H.,
1892/1912, in 18, 261 p. Fig. (Library of Novelists)38
Consequently, the data obtained is ambiguous, since it may mean, on the one hand, that
there is a second edition (1910) and a third edition (1912) or there may be only one typing
error, leaving in two editions, the first of the year 1892 and the second for the year 1910
or 1912 (depending on the error of typing). Notwithstanding the above, if there is more
than one edition and these have reached the year 1912, equally the evidence of the
fragments of the book Zizi in the collage, would be circumscribed to two dates that do not
oppose the arguments of authenticity and the chronological period of the work analyzed.
In a complementary way, it is added that in order to compare the fragments of the Zizi
book of the collage, with the original book published in 1892, it was purchased in
Lemberger's bookstore, an original book, published that year. Procedure that has been
credited in the purchase Nº 77069030VX051993C. However, the indubitable material
acquired, presents significant differences with the fragments of the collage, since the
cover is of different color, different layout, different type of engraving and pigments;
therefore, there are no common elements to be compared. The above installs the
reasonable doubt that there is more than one edition of the book Zizi, which may be the
one mentioned by Denise Fisher in her thesis.
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38
Fisher, D. (2014). Ibídem, pp. 315-323.
5.5.3.1. Identification of Zizi work
Section of the book Sections of the original book Zizi (1892)

Zizi of collage
Figure 4.12. Detail of the back of the book Zizi present in the collage.
Right: detail of the cover and back of the book Zizi of 1892
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5.5.3.2. Conclusion of comparisons of the book Zizi. Historia de un gorrión de París
Consequently, the documentary analysis of the book Zizi does not provide accurate
information about the data of the fragments of the collage, since the indubitable material
that is possessed, does not present common elements that can be subjected to
comparison, therefore, this part of the investigation, remains open to the possibility of
further expansion in the future, in order to specify the unfinished data.
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CHAPTER 6
HISTORICAL-CONTEXTUAL ANALYSIS OF THE COLLAGE
Developed by:
Mg. Victoria Francisca Jiménez Martínez39

Dra.(C) Bernardita de los Ángeles Abarca Barboza40
Giulia Marzi Ragghianti41
Coordination and editing by:
Mg. Evelyn Aguilera Arce42
39
Master in Arts with a mention in Theory and History of Art, Universidad de Chile. Degree in Art, Pontificia
Universidad Católica de Chile.
40
Doctor (C) in Philosophy, Aesthetic Mention and Theory of Art, Universidad de Chile. Master in Arts,
Página 81/136
mentioning Theory and History of Art, Universidad de Chile. Graduate in Aesthetics, Pontificia Universidad
Católica de Chile.
41
Specialist in cultural goods with mention in history and art, Faculty of Arts and Philosophy of the
Università di Pisa.
42
6.1. Biographical review by Pablo Picasso
Pablo Picasso (1881-1973), was a Spanish visual artist of great versatility who explored
diverse plastic languages. His development as an artist begins early with his training in
academic realism43.
The development around its formal and chromatic

experiments has as initial mark the stage known as blue
period (1901-1904 approximately); this would have been
triggered by the suicide of his friend Carlos Casagemas
and is characterized by a cold chromatic range "and the
melancholic a ”44.
In April of 1904 he settled definitively in Paris with

important economic difficulties and in August of this
same year he meets Fernande Olivier, his first couple.
This year is a characteristic node of his career, because
Imagen 6.1. Pablo Picasso (1904).
Photography: Ricard Canals i Llambí he begins the pink pictorial period (1904-1906), where
produces a significant change in the use of color over the
previous phase, "developing compositions with classic shapes and warmer colors, in which
the characters leave the isolation of the previous phase"45. With Fernande Olivier, Picasso
frequents the artistic surroundings of Paris, and that's how he makes friends with
Guillaume Apollinaire, André Salmon, Juan Gris, Marie Laurencin, Leo Stein46.
43
Martín, M. (s/f). Pablo Ruiz Picasso, in Museo del Prado. Recovered from:
Página 82/136
https://www.museodelprado.es/aprende/enciclopedia/voz/picasso-pablo-ruiz/f3cdd5d2-9564-42e6-a425-
d11ffa7cd40c.
44
Ibídem.
45
Ibídem.
46
Widmaier, O.(2003) Picasso: retratos de familia, pp. 129-130. ALGABA Editors, Madrid.
In 1906 he met Henri Matisse, who influenced the enrichment of his palette and the
formal exploration, from African art. That same year he also met Georges Braque, who
became a close friend and co-worker in the development of Cubism.
In 1907 he made Les Demoiselles d'Avignon, a work considered the origin of cubism by its
relation between figure and background.
Image 6.2. Les demoiselles d'Avignon (1907)

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Both Picasso and Braque are involved in analytic cubism, which stretches from 1910 to
1912, period in which they are in charge of "setting up a new pictorial space, breaking
with the illusionist perspective system established in the Renaissance and perpetuated for
centuries"47. Then, by the year 1912, synthetic cubism would emerge, which unlike the
previous period seeks to be more understandable to the viewer "synthesizing and
diminishing the multiplicity of elements and facets of objects, which begin again to
recover their reality and color"48 .
In 1914 World War I exploded and the French friends of Picasso go away to the war. As
Spain is a neutral country in the conflict, Picasso is not recruited, however, some of his
friends do not return and others are injured, such as Apollinaire, Who suffers a
trepanation49 and Braque that suffers a serious injury of a slow recovery; Situation that
leads him to resume his artistic work in the year 1917. This postponement of Braque,
would have been one of the main reasons that would justify the dissolution of the
intimate friendship between Braque and Picasso50.
In 1917 he joined Diaghilev's theater company, working on the decoration and costumes
of the Parade ballet, a link that lasted until 1924, at that time he designed the decoration
and costumes for the Mercure and Letrain Bleu ballets51. In this Russian ballet company he
meets Olga Khokhlova, with whom he married in 1918, the same year that Picasso began
to develop works of neoclassical character.
Subsequently he develops the theme of the bathers and focuses on his bullfighting works,
which arise from his great passion for bulls and the symbolic link between this animal and
Spain.
47
Martín, M. Op. Cit.
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48
Preckler, A. (2003). Op. Cit, p. 85.
49
Widmaier, O. (2003). Op. Cit. p. 132.
50
Ganteführer-Trier, A. (2006). Georges Braque. Pipa, vaso, dado y periódico, Cubismo, Colonia, p. 82.
Taschen Editors.
51
Podoksik, A. (2011). Pablo Picasso, p. 148. Parkstone International, Nueva York.
Towards the year 1936 paints the Guernica and from 1947 begins to realize ceramics.
Picasso maintains his artistic work for life, which always carries the stamp of his own
experiences and experiences that include social themes, portraits, women sitting, erotic
scenes, musical instruments, bulls, among others.
6.2. Picasso and music
Some versions of the story argue that in Paris Picasso was surrounded by an environment
in which music had an important presence. Some of her first friends in this city were
Suzanne Bloch - who became a well-known singer - and her brother Henri Bloch, who was
a violinist52.
Another Picasso friend linked to music was the painter Henri Rousseau who was known
not only for his condition of painter, but also for violinist. Some versions of the story
maintain that a distinctive aspect of Picasso's relationship with Rousseau was the
consequence of a purchase that the artist from Malaga made to one of the works of the
Frenchman in Montmarte, a portrait of a woman. This acquisition induces Picasso to
celebrate such a purchase and honor Rousseau53. This instance was approached later, in
the sixties by Manuel Blasco Alarcón, who immortalized in a painting this event: "they
danced to the son of the accordion of Georges Braque and the violin of Rousseau himself,
who played until the alba waltz and one of his own compositions"54.
This is how it is possible to see at different moments in the picassian history, the presence
of musical instruments, where the string ones had more emphasis. Braque also
approaches the instruments in his artistic creations; nevertheless, Picasso did it with a
look towards the interpreter with the instrument. This creative harmony between them
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52
Podoksik, A. (2011). Op. cit, p. 47.
53
Stein, G. (2016). Autobiografía de Alice B. Toklas. Penguin Random House. Grupo Editorial España.
54
Brodskaïa, N. (2012) Arte Naif, p. 28. Parkstone International, Nueva York.
led them to make inroads into the explorations of the other. In this dynamic of
interaction, Picasso introduced violins in his works, as Braque used to do and the latter
made some painting with instrumentalists, a frequent theme in Picasso. This exchange of
concepts is evident in the framework of their relationship of friendship and work,
especially when comparing these productions with their usual styles. In fact, Picasso, in
the periods before cubism, used mandolins, guitars and tenors; Braque, for his part,
performed still life with instruments55.
The presence of violins in Picasso's cubist works is numerous, between 1912 and 1913
appear in at least fourteen papiers collés. For Gary Tinterow and Susan Stein this may be
because string instruments can be visually recognized from small and unmistakable details
and their curves can be related to those of the human body56.
6.3. Development of cubism
The decisive inclination towards the cubism takes place between 1906 and 1907. In these
years the great retrospective is realized on the painting of Cézanne, who died shortly
before, that influenced to Picasso. His interest in African sculpture arises, with Matisse
introducing him to these expressions57. From this exotic primitivism that had fascinated
the European artistic culture, from Gauguin onwards and the need to continue the
experimentation that always characterized Picasso, in 1907 comes the work Les
demoiselles d'Avignon, which is considered the beginning of the time Cubist of Picasso.
55
García, C. (s/f). La presencia de la música en la pintura del cubismo sintético de Pablo Picasso hasta 1914,
p. 9. Recovered from:
http://www.juntadeandalucia.es/cultura/web/html/sites/consejeria/publicaciones/Galerias/Anexos/musica
Página 86/136
-pintura-cubismo-picasso.pdf
56
Tinterow, G; Stein, S. (editores) (2010). Picasso in the Metropolitan Museum of Art, p. 167. Yale University
Press, New Haven and London.
57
Read, H. (1966). The sculpture of Matisse, en Henri Matisse, Jean, L; Read H. Lieberman, S.W. Berkeley and
Los Angeles: University of California Press.
Since 1909 Picasso and Braque have been working closely together
(...) as the rope in the mountains, "Braque will say, thinking of our very different
temperaments, we were guided by a common idea ... During these years we have
said things between Picasso and me that no one will ever say things that nobody
could be said, that nobody would be able to understand ... things that would be
incompressible and such satisfaction have given us ... and this will end with us ...
above all we were concentrated58.
Picasso and Braque, in the analytic phase of cubism, produced works that could not be
recognized from among them the artist who created them, an example of which are
Picasso's Poet (1911) and Braque's Man with Guitar (1911). Together they investigated the
"new space" maintaining cubism in its primitive rigor.
The cubist phase was a stage of great experimentation, in which Picasso put into question
the very concept of artistic representation. In the first cubism, called analytic, the object
that loses the real form is decomposed, not recognizable, are detailed facets that come to
show the object in multiple aspects, representation is almost graphic annotation only,
reproducing pure architectural volumes losing readability . Picasso was interested in the
simplification of the form, arriving at a pure sign that contained in itself the structure of
the thing and its conceptual identification.
The cubist collage is invented in a context which is contradictory: "the continuity of the
inspiration of Symbolist poetry, the rise of popular culture and protests against the war in
the Balkans"59. Picasso and Eva Gouel, the artist's second companion and inspirational
muse, spend the summer of 1912 in a village near Avignon. When they return to Paris in
the fall, Picasso begins experimenting with the papier collés invented by Braque that
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58
Vallier, D. (1954). Braque, la peinture et nous. E C ’ , . 1, 1.
59
Foster, H. (2006). Arte desde 1900, p. 112. Akal Editions, Madrid.
summer. With this technique they glued papers printed or painted in their compositions.
With this they initiate a new phase of the cubism in September of 1912.
The pieces of paper allude to a particular object, they are cut with a relevant shape or
include graphic elements that clarify the association60. With this they will work:
(...) papers of various forms and descriptions: wallpaper, newsprint, bottle labels, musical
scores, even fragments of old books discarded by the artist. Covering themselves like the
papers of a desk or a work table, these leaves are aligned with the frontality of the surface
that sustains them; And further, by pointing to the frontal condition of the surface, they
also declare that, as paper, it is thin, as deep as the distance between the topsheet and
those beneath it.61.
Regarding the purpose of the papier collés Picasso will declare that they sought to
challenge reality in nature:
We tried to get rid of trompe-l'oeil to find a trompe-l'oeil. We didn't any longer want to
fool eye: we wanted to fool the mind. ... Newspaper was never used in order to make a
newspaper. It was used to become a bottle or something like that. ... If a piece of
newspaper can become a bottle, that gives us something to think about. ... This displaced
object has entered a universe for which it was not made and where it retains, in a
measure, its strangeness. And this strangeness was what we wanted to make people think
about because we were quite aware that our world was becoming very strange and not
exactly reassuring62.
The transition from analytic cubism to synthetic cubism represented a fundamental

moment of artistic evolution. The last years of the pre-war, from 1912 to 1914, were the
era of development of the cubist collage, Picasso and Braque change substantially the
Página 88/136
60
Tinterow, G. y Stein S. Op. cit.
61
Foster, H. (2006). Op. Cit, p. 112.
62
Tinterow, G; Stein S. (editors) (2010). Op. Cit.
relationship with form. The introduction of colored surfaces and the fact that shapes
became more pronounced opened a new path.
The presence of musical instruments is numerous and significant in all phases of cubism.
Braque, music lover and interpreter of the accordion, was the link between Picasso and
cultured music. Braque also played the concertina, flute and violin. This last instrument is
part of his works from analytic cubism63. Picasso's painting shows the presence of musical
scores, musical instruments (especially violins) and musical interpreters64.
Image 6.3. Violín Jolie Eva (1912).
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63
García, M. (s.f.). Op. Cit.
64
See images from 6.3 to 6.9.
Image 6.4. Violin at the cafe (1913) Image 6.5. Violin hanging on a wall
(1913)
Image 6.6. The Guitar (1913) Image 6.7. Guitars, partitures and
glass of wine (1912)
Página 90/136
Image 6.8. Violin (1912) Image 6.9. Violín and fruits (1912)
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6.4. Formal analysis of the collage under study
Página 92/136
Image 6.10. Synthetic collage, inside of the case

6.4.1. Physical description of the piece
The present piece is realized in a case for two violins, whose dimensions are 80 cm. long,
32 cm. wide and 11 cm. of depth with the closed case. With open case measures 80 cm.
long, 64 cm. wide and 5.5 cm. of depth, approximately.
The left side corresponds to a section of the collage that

is composed mainly of a human figure, presumably of a
violinist. The face is made on the basis of a cardboard
cutout of light ocher color. Below are two pieces of the
same type of corrugated cardboard, a fragment of the
newspaper Le Petit Journal and a fraction of the cover of
the book Historias de Ruiz Alarcón, placed in inverted
position and of reverse, fulfilling the role of hand with
fingers, which arise on the subject of graphical
interventions with black ink. Different applications of the
face of the violinist, such as the bow and his right fist, are
made with cuts from the cover of the book Zizi. Historia
de un gorrión de París by Henry Demesse. Other cuts are
an ocher color oval (cut industrially) and a black fragment
that corresponds to the mouth of the figure.
Image 6.11. left side of the collage

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The right side has a composition composed of two
violins that meet in reverse. They are made of
fragments of two types of wood, mounted on
wooden supports that give it the necessary height to
be flush with respect to the upper surface of the
hollow of the case. The obverse of the wood with the
shape of violins, is intervened graphically with the
technique known as gouache.
Image 6.12. Back side of the violins. There are different

Image 6.13. Right side of the collage
woods assembled and the supports that give height to
the composition
6.4.2. Material identification of the piece
With the first review, it has been possible to carefully analyze the distribution of materials,
brushstrokes and graphics of the piece attributed to the artist. The palette and materiality
Página 94/136
used in the work, are relevant data to understand the attribution to the artist's hand.
In relation to the palette, the use of three visible colors is seen in the collage: red, white
and black. All three, by optical inspection, exhibit a covering behavior compatible with
technique gouache. This technique corresponds to a watercolor of thin layers of paint,
which produces the effect of being thicker than it is in rigor. Its finish is opaque, matte and
uniform65, which is corroborated with what is observed in the experimental work and with
the technique commonly used by Picasso in several of his works66.
Image 6.14. Detail of the three colors used Image 6.15. Detail with flush focus of the colors
in collage black and white
Below are two details of picassian works that present technical similarity of gouache with
the studied piece. Página 95/136
65
Casas, N. (2012). Técnicas y secretos en Dibujo - Pintura y Restauración, p. 149. Bubok Publishing, Madrid.
66
Burgueño, M. (2009). Acuarelas, gouaches, pasteles y dibujos. Revista de Arte – Logopress. Recovered
from: http://www.revistadearte.com/2009/03/23/acuarelas-gouaches-pasteles-y-dibujos/
Image 6.16. Detail of Guitare et bouteille de Bass (1913)
Image 6.17. Detail of The clarinet and violin (1913)

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According to the vibration analysis by Raman microscopy and attenuated total reflectance
(ATR) FTIR spectroscopy, developed by Tomás Aguayo for Veritart67, it was obtained that
the spectrum of the white sample shows the signals of titanium dioxide, in the form of
rutile.
According to the research of Millán del Pozo, about the use of titanium dioxide in Europe,
the following is extracted:
(...) titanium dioxide as pigment, has been used scarcely since 1870 to 1895 and in 1895
was sold in titanium dioxide preparations in Germany, France, UK and Italy, increasing its
progressive use as a pigment, which with all probability caused its commercialization (...)
Max Doerner in 1890 confirms the satisfactory use of the titanium in its mixture with the
lithopone, this in itself evidences its use68.
In the form of rutile, the titanium dioxide would have begun to take place around the year
1945, due to its technical-pictorial properties superior to the anatase, another form of
crystallization of the titanium dioxide that would have been produced exclusively until the
year 193869, however, this explanation of the synthesis and use of titanium dioxide is
controversial, since there is evidence of rutile and anatase in pigments of pre-Columbian70
ceramics, which implies that these forms of crystallization of titanium dioxide occur
naturally, without that the pigment must necessarily be synthesized in a laboratory. This
evidence overthrows the possibility of using rutile, anatase or titanium dioxide as an
element that chronologically guides an artistic or archaeological piece.
Given the above, titanium dioxide in the form of rutile, is not a pigment that provides
information on the date of an artistic or archaeological piece.
Página 97/136
67
Review the full results of the study in chapter 4 of this report.
68
Millán del Pozo, G (2009). Op. Cit, p. 185.
69
Duran i Escribà, X. (2011). Op. Cit, p. 56.
70
Bugliani, F; Di Lello, C; Freire, E; Polla, G; Petragalli, A; Reinoso, M; Halac, E. (2012). Op. Cit. 17 (2), 65-74.
Notwithstanding the foregoing, titanium dioxide, for its covering properties, is suggested
use for the gouache technique71; this condition that makes it compatible with the
technique used by Picasso.
In reference to the red pigment of the collage, the vibration studies by Raman microscopy
yielded compounds compatible with those used in the "anilines". In fact, the sample
presents the characteristic profile of a type of synthetic pigment called diazopirazolone.
This type of pigments belong to the sub-group of the diazo pigments and are compatible
with the anilines, which thanks to their great dyeing power are used in smaller quantities
to obtain a hiding power, a condition that enables them to be used as artistic material.
Image 6.18. Detail of the red pigment in the technique gouache of the studied piece
Considering that this designation (gouache) covers a wide range of technical and material
possibilities, where the anilines are included, we find it especially significant that it
Página 98/136
coincides with the modus operandi of the artist, as many of his works refer to72.
71
Mayer, R. (1992). Op. Cit, p. 122.
The work shows black brushstrokes that according to the same Raman technique applied
to Veritart, correspond to the carbon pigment, which also as a dye composes several of
the works of the author73.
Image 6.19. Detail of the black brushstrokes in gouache technique of the studied
piece
Página 99/136
72
Podoksik, A; (2011). Op. Cit.
73
See pictures 6.29 to 6.21 and compare the type of brushstrokes and / or similarity of the material used.
Image 6.20. Clarinet and violin (1913).
Brushstrokes with gouache technique
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Image 6.21. Still life with violin and fruit (1912).

Use of coal in collage sections
Likewise, an approach that dissects its material components, collect by its formal
associations and materials used by Picasso in times of synthetic cubism, the strong
influence of Braque and figures easily linked to the characters of the Parade ballet, as well
as gathering objects of Tradition (Historias de Ruiz de Alarcón 1914 and violin case made
in Barcelona), French tradition (Zizi, Historia de un gorrión de París (1892/1910/1912?)
and Le Petit Journal (1893). All materials dated until 1914.
The piece analyzed offer a volume of information that, far from having a merely subsidiary
character, provide important clues to solve the unknowns of style, dating and brought us
to very frequent details within the processes of creation of the artist.
The study shows that, for this work, Picasso reused parts of two books and a sheet of Le
Petit Journal (corresponding to the cover). These materials were subjected to
documentary examinations in the laboratory of Veritart and by virtue of the results, it is
possible to indicate that the materials are of data no more than the year 1914. The cover
of the book Zizi, can be the case of a special edition of the year 1892 or a second or third
edition of the years 1910 and / or 1912 respectively. In reference to the book Historias de
Ruiz de Alarcón, the studies show that the section used in the work is of the first edition of
the year 1914 and the cover of the newspaper Le Petit Journal, corresponds effectively to
the drawing of Saturday 14 of January of 1893. This shows that part of the material
constituting the work presents a chronology equal to or less than the year 1914.
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6.4.3. Esthetic analysis of the collage
6.4.3.1. Description and analysis of the left side of the piece
Inside the suitcase you can see the

representation of a musician in the act
of performing a violin. The technique
is clearly papier-collé with few graphic
or pictorial interventions. The head is
made of cardboard of light ocher
color, cut, following a rectangular /
geometric profile. The right profile is
pronounced at a slight angle,
suggesting the posture tilted towards
the shoulder, has two crevices made
intentionally in the brow and on one
side of the bow tie, which reinforce
the movement of the face towards the
violin.
Image 6.22. Detail of the violinist head The cut of oval paper, of ocher color,
contributes through a game of forms,
the effect that synthesizes the action of the musician in the act of playing.
The eyes, nose, tie and cuff of the sleeve are cuts in burgundy color of the book Zizi.
Historias de un gorrión de París by Henry Demesse, published as a special edition of 1892
or, in case, would be a second or third edition of the 1910s or 1912s.
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Image 6.23. Cutouts of the book Zizi on face (left figure), bowtie (upper right figure), fist (lower
right figure)
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Image 6.24. Zizi (¿1892/1910/1912?)

The hand corresponds to a fraction of the book Historias de Ruiz de Alarcón, same that has
been used by the reverse and in inverted position.
Image 6.25. Fraction of the cover of the book Historias de Ruiz de Alarcón.
It is observed by means of a mirror, the evidence of the cover
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Image 6.26. Historias de Ruiz de

Alarcón (1914)
The mouth is a patch of black color. All the cuts of this book follow straight forms,
contrasting with the oval to the right side of the face. This description is in agreement with
the simple geometric figures, which are typical of the period of synthetic cubism; This is
so, that the denomination of synthetic implies a synthesis and simplification of the
geometric compositions, with the purpose of approaching the spectator74. In this sense
the geometrical lines of the composition of this work are entirely compatible with the
purpose of this period of cubism.
In the images that follow, it is possible to recognize in the characters - whether musicians,
saltimbanquis, a head or a woman - physiognomies related to the musician's face in the
work subject to analysis, due to the geometric simplicity of its forms.
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Image 6.27. Head of a man (1913)
74
Preckler, A. (2003). Op. Cit, p. 90.
Image 6.28. Harlequin (1915) Image 6.29. Italian woman (1917)
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Image 6.30. Harlequin with violin (1918)

Image 6.31. The three musicians (1921)
The complete figure of the left wing of the work analyzed, follows a zigzagging direction,
creating a dynamic movement that dialogues with the lines presented by the right side of
the work.
As indicated above, the style of this work belongs to synthetic cubism, marked by a richer
color range than that of its previous stage (analytic cubism). Through a material
multiplicity, the artist reconstructs the shape with different volume and textures. For this,
select a bounded number of planes to recognize better the subject being represented. In
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this artistic stage, the invention of the analysis of forms, along with an enrichment of color
and a greater importance given to textures75, begins to predominate, which is in line with
the use of the red color of this work that gives strength, character and vivacity to the
studied work, together with the multiplicity of elements that nuance the different parts of
the work with textures, a condition that dialogues with the technique of collage, in which
Picasso included pieces of newspapers, magazines, canvases, cutouts; materials that had
the main purpose of defining the spatial organization by itself, which managed to order
the structure from vertical, horizontal and diagonal lines. Consequently, the expertised
work, fully complies with this explanation.
As in this work, the presence of musical instruments can be observed in various creations
of Picasso, especially those of strings that are usually more identifiable in creations that
present a rupture of the homogeneous forms and the continuity of the contours76. In the
works of this period, Picasso fuses human figure with instrument, musical score with
palette of painter, object with subject.
Regarding the body of the musician present in the studied work, the style and lines,
geometric cuts and the predominance of black, white and red / burgundy; as well as the
composition of forms, can be recognized in Picasso's work for the Parade ballet in 191777.
In picture 6.32 it is possible to appreciate both a scene and part of the costumes of the
ballet Parade.
Página 108/136
75
Ibídem, pp. 83-87.
76
García M. (s.f.). Op. Cit.
77
In picture 6.32 it is possible to appreciate a scene and part of the costume of the ballet Parade.
Página 109/136
Image 6.32. Parade (1917), scenes and costume.

Regarding his work oriented towards three-dimensionality, Picasso states in 1914:
These paintings will suffice to cut them - since, in short, the colors are but indicators of
different perspectives, planes inclined on one side and another - and then couple them
according to the indications given by the color to be in the presence of a "Sculpture"78.
The jacket of the analyzed piece is made of

corrugated cardboard (packaging material). It
is also painting black on the inner margins and
on the sides, which gives him the light-dark
contrast that is perceived as a different plane,
giving it a deep effect. Regarding the presence
of corrugated cardboard in the work, it is
interesting to pay attention to the use of
different cartons in the cubist works of the
artist, characteristic of the experiments of
these years in Picasso as well as in Braque and
in the futurist movement79.
The fragmentation of form and then the

Image 6.33. Torso of the violinist of the collage recomposition of loose fragments
contribute to exalt its visual and tactile
qualities. The suit's shirt is made with a cut from the newspaper Le Petit Journal, dated
January 14, 1893, where the phrase Le Petit is mainly visible.
The only element drawn is the hand, which appears as a black sign, on a piece of white
cardboard, from the book Historias de Ruiz Alarcón of Araluce Editorial, Barcelona, Spain,
dated 1914; visible information only when looking at the back side of the fragment (action
Página 110/136
78
Aforementioned in González, J. (1986). Picasso sculptor. C ’ , XI, .6-7.
79
Cottington, C. (1999). Cubismo: Movimientos en el Arte Moderno (Serie Tate Gallery), pp. 59-70. Encuentro
editions.
performed with a mirror). Looking at the figure of the musician in totality, the hand is an
element that draws attention by its solidity and by its simple and synthesized confection
of traces in its great majority, straight ones; which is corroborated by similar examples in
form and style in many of Picasso's works80.
Image 6.34. Detail of the hand of the studied collage

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80
See and compare pictures 6.35 to 6.40.
Image 6. Left: Friendship (1908). Right: Detail of the hands
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Image 6.36. Man with pipe (1914). Right: Right hand detail
Image 6.37. Left: Harlequin (1915). Right: right hand detail
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Image 6.38. Left: Harlequin and woman with necklace (1917).

Right: detail of the harlequin's right hand
Image 6.39. Left: Harlequin (1918)
Right: Harlequin's right hand detail
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Image 6.40. Left: Musicians with masks (1918). Right: detail of the hands of the 2nd musician
6.4.3.2. Description and analysis of the right side of the work
From a set of fragments of wood is recognizable the design of

two violins. The representation occupies the whole surface of
wood. The technique used with the paint materials is gouache
and the colors presented are white, black and red. On this side
the graphic line recreates the shapes with colored planes. White
and black are also, respectively, light and shadow; The red note,
defines the extreme portion of the top and bottom of the
complete silhouette. This color is present in several works that
refer to stringed instruments. Likewise, the interior of the case
that has a blue velvet lining, also contributes a tone that in the
picassian works has been common in the period of the synthetic
cubism. The following images prove it.
Image 6.41. The guitar (1916)
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Image 6.42. Violin hanging in the wall Image 6.43. The guitar (1916)
(1913)
Image 6.44. Guitar and score (1920)
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Image 6.45. Mandolin with guitar (1924)

In the work in question, according to a requirement of symmetrical balance, the graphic
weight is "balanced" through the blank sections corresponding to the fretboard (sector
where the instrument strings are located on the handle) of the violins and limbs in red.
The wood surface was left with the natural color: so that the material represents itself,
characteristic aspect of the synthetic cubism.
It is perceived a synthetic image that presents simple elements that arrive at a harmony in
spite of the rustic materials used. The representation is posed as a game of optical illusion,
where the graphic boundary between the first and second violin is lost, in a dynamic and
sinuous composition. The white portions of the tuning forks, rigid and rectilinear, contrast
with the movement of the curves of the composition. These elements make a
counterbalance to the figure on the right in coherence with the structure of zigzag breaks,
according to a visual balance of the complete work. One can confirm the need to
understand these oppositions between curved and straight lines, such as visual inquiry, in
relation to the examples given below. At the same time, it is relevant to observe the
volutes and the "F-holes" as stylistic elements, which are repeated in other works of
Picasso.
Página 117/136
Image 6.46. Left: detail of the studied collage. Right: Violin (1912)
Image 6.47. Left: Bottle, glass, violin (1912). Right: detail of the studied collage
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Image 6.48. Left: Clarinet and violin (1913). Right: detail of the studied collage
6.4.3.3. The work as collage and sculpture
Looking back at Picasso's vast work, it is significant that between 1912 and 1915 the artist
creates a series of paper, cardboard, wood and tin constructions with painting
interventions that transfer the discourse of the collage from the two-dimensional plane to
a three-dimensional plane, arriving at works mixed between sculpture and painting.
Image 6.49. Violin (1913) Image 6.50. Mandolin (1913)

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Image 6.51. Guitar and bottle (1913)
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Image 6.52. Violin and bottle on a table (1915)

The images 6.49, 6.50, 6.51 and 6.52 show the picassian collages and / or sculptures of
synthetic cubism, which, by style, composition, structure, stylistic seal, are compatible
with the analyzed collage, even more so when white gouache has frequently participated
as a technique.
For Ingo Walther, the papier collé led Picasso to think again about the sculpture -
previously he made some from 190281 -. The bonding of paper on the surface would have
been a step forward to overcome the two-dimensional character of the painting. When
adding other materials the paintings were acquiring more and more relief.
The development towards the three-dimensionality as well as the rupture of the

structures happened in several stages until completely independent objects, is the case of
Violin and Bottle on a Table of 1915/16, a construction that consists of pieces colorfully
painted of wood, nails, and strings. With this new idea, Picasso started many revolutionary
innovations in twentieth-century sculpture. The traditional method had been additive or
subtractive to the present (...) Now, however, it is a matter of using simple ready-made
components and to fit them together into varied and complex structures. This was, in
effect, the beginning of a new chapter in the history of sculpture, a chapter that can be
called "constructivism"82.
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81
Camarzana, S (8 de marzo de 2016). Un viaje a la escultura de Picasso, El Cultural. Recovered from:
http://www.elcultural.com/noticias/arte/Un-viaje-a-la-escultura-de-Picasso/9023
82
Walther, I. F. (2000). Pablo Picasso 1881-1973. Genius of the Century, p. 46. Los Angeles, California:
Taschen.
6.4.3.4. On the literary elements present in the work
It is relevant to note the literary elements present in the work, since there has been much
speculation about the possible intentions of Picasso incorporating these intertextualities,
even though they are not always recognizable to the viewer. For Tinterow and Stein the
cuts in his work refer to various issues, from the Balkan war and the conflicts in the French
mines, to critical government issues. Which has led them to suggest that Picasso
purposely selected certain texts83.
An example of this intentional selection of written

information is found in the study developed on the
Suze´s bottle (1912)84, which presents texts that confer
a political and social dimension to the image. Picasso
juxtaposes journalistic articles referring to the terrible
events of the First War of the Balkans with stories of
Parisian frivolity. Along with the texts, the fragmented
forms, deformed in this cubist image, allude to the
conditions of modernity as the lack of coherent
perspectives or meanings in a world in constant
Image 6.53. Suze’s bottle (1912) change, which makes it clear that Picasso's work , can
be seen as a paradox that on the one hand warns against the absurdity of modern life and
on the other, invites the delight of the simple pleasures of life.
Página 122/136
83
Tinterow, G. y Stein S. (editores), (2010). Op. Cit.
84
Harrison, Ch; Frascina, F; Perry, G. (1998). Primitivismo, cubismo y abstracción, pp. 95-98. Akal Editions,
Madrid.
Consequently, it is possible to infer that the presence of newspaper clippings and
fragments of books, assign to the work object of analysis, greater information that is seen
with the naked eye, a type of implicit information that is then tried to elucidate:
Le Petit Journal: The present page in the work corresponds to the cover that illustrates
the jubilee of Luis Pasteur in 1892. In this activity Pasteur affirmed:
Do not be tempted by the denigrating and sterile skepticism, do not let yourself be
discouraged by the sadness of certain hours that weigh on the Nation. Live in the serene
peace of laboratories and libraries. Ask at the beginning what I have done for my
instruction? And as you advance in life, what have I done for my country? Until you have
the immense joy of thinking that you have contributed something to the progress and
good of humanity ... But whether your efforts are more or less favored by life, what
matters is, when one approaches the great goal, have the right to say: I have done
everything I could85.
Although one cannot be certain of the political intentionality of the cut used, there are
arguments to think that the warlike environment facing Europe at the time when
synthetic cubism developed could have induced Picasso to express artistically a political
and / or morality regarding the consequences of the war and the scope and implications
of individual responsibility in the social sphere, which is quite compatible with the thesis
of some researchers who claim that Picasso implicitly connoted relevant information, such
as a call for attention, contrast or simple reflection86. Página 123/136
85
Temas Médicos (2003). Vol XVI, pp. 104-105. Bogotá, Colombia: National Academy of Medicine.
86
Harrison, Ch; Frascina, F; Perry, G. (1998). Op Cit, pp. 95-98.
Now, why would Picasso have selected a fragment of Le Petit Journal? According to
Harrison, Frascina and Perris - in the context of the analysis of picassian cubist works -
indicate that the media, including the written media, such as Le Petit Journal, are forms of
social organization that have implicit values and beliefs that mobilize people87, therefore,
for Picasso, a fragment of this newspaper, would not only fulfill a role constituting a
collage, but would contain a deep symbolism where certain values and social beliefs
would be present.
Página 124/136

indubitable Document
87
Harrison, Ch; Frascina, F; Perry, G. (1998). Ibídem, p. 98.
Historias de Ruiz de Alarcón (1914 edition): This Spanish book compiles three stories by
Juan Ruiz de Alarcón, writer of the Spanish Golden Age, who develops a moralist
literature. The narratives correspond to El tejedor de Segovia, which deals with the need
for good government; Las paredes oyen, whose argument refers to unrequited love and
the triumph of pure love over gallantry; and La verdad sospechosa, which deals with a liar.
Juan Ruiz de Alarcón is considered an influential

baroque Spanish playwright who has versed his work in
themes related to morality, emphasizing the idea that
the world is a hostile and deceptive space, where
appearances prevail against virtue and truth, attacking
the customs and social vices of the time88.
It is interesting to note that what is related to Ruiz de

Alarcón is linked to morality, especially if the thesis that
Picasso used the written media with an underlying
ideological desire is considered correct, a context in
Image 6.55. Stories of Ruiz de Alarcón which, morality would be a theme usually posed in Its
(1914)
artistic manifestations. This morality would, of course,
be influenced by Marx and Engels, ideologists who proposed that ideas, values, and beliefs
about society would be mere assumptions89. These assumptions would be under the
guideline or guardianship of a few subjects who have the power to define what is shown
or what is made to believe others, who would be responsible for impregnating a supposed
sense of reality in society. This small approximation to the ideology of Marx and Engels,
which significantly clarifies that of Picasso, is insinuating when we return to the premise of
Ruiz de Alarcon that indicates that the world is a hostile and deceptive space, where
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appearances face the virtue and the truth. It is also insinuating when it is observed that in
88
Josa, L. (s/f). Juan Ruiz de Alarcón y su nuevo arte de entender la comedia. Universidad de Barcelona.
Recovered from: http://www.biblioteca.org.ar/libros/200324.pdf
89
Harrison, Ch; Frascina, F; Perry, G. (1998). Op. Cit, p. 98.
the collage, the fragment of the book Historias de Ruiz de Alarcón is inverted, can only be
observed with a mirror, that is to say, the viewer only sees a hand with a white
background, does not know that it is a cover that is, "reality" is not available to be
captured by anyone, only by a few who have the ingenuity to suppose the existence of
valid information in places and in Unconventional forms.
Zizi, historia de un gorrión de París: this French book corresponds to a children's story
written by Henry Demesse, dealing with the adventures of a small sparrow narrated in the
first person.
It is important to note that the cuts that are used in the collage
investigated, allow to recognize the book from the name "Zizi",
which if read alongside the text of the newspaper "Le petit", the
possibility of conforming the phrase "Le petit Zizi ", that
translated corresponds to "small sparrow ". This relation of
concepts, is even more interesting if Braque is considered in
1913 the work Petit Oiseau90, whose translation would be "little
bird". In this work Braque evidences the title of the work by
incorporating the text into a score, as suggested by Le petit Zizi.
Image 6.56. Zizi
As already mentioned, the influence of Braque in Picasso and (¿1892/1910/1912?)
vice versa was recurrent, so it is suggestive the possibility of an
intention of dialogue between these two works.
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90 o
See picture N . 6.57.
Imagen 6.57. Petit Oiseau (1913)
6.5. Conclusions of this chapter
The work analyzed is intrinsically a collage: it uses the objet-trouvé, the case of two violins,
which becomes the matrix of the work, which seems to be a playful proposal where the
viewer discovers the object-work, a collage inside, like the surprise when opening a box of
spring with a clown or saltimbanqui to the interior.
It is made from a case for two violins, which allows you to open it and find the elements of
the collage, replicating a play that appears as the curtain runs. In this case they are
presented with a man, a musician and the instrument ready to lead us to an ambiguous
space between two-dimensionality and three-dimensionality. Musical and theatrical
space, which is known to be very close to Picasso, through the esthetics that prepares for
Página 127/136
Parade ballet, where the costumes show characteristics that are in line with the work
under study.
Its articulation as a creative manifestation, is articulated as a composition based on a
common object (the violin case) that assembles two representations: a collage (papier-
collés) and the pictorial cubist composition. Creating a dialectic between both techniques
in a macro collage that could be considered a readymade ante litteram, far from the
Dadaist concept, from the removal of the function that has the object in the daily use, the
morphosyntactic destruction in favor of a new proposal formal and the
recontextualization of the meanings that can be attributed to the object.
From its esthetic analysis it is possible to situate the work temporarily in the phase of
synthetic cubism, specifically between 1914 and 1915. In this phase several elements are
united and the unity of forms is recomposed, also recovering the colors, generating a
synthesis of different investigations and figurative-sculptural results, which Picasso
undertook at the time of synthetic cubism.
Although the work seems to be a unique piece in the artistic production of Picasso, due to
the extensive work of the artist cannot be ruled out that he has made other compositions
that may have similar characteristics.
Consequently, due to the characteristics compatible with the style, technique and
materials of the experienced work, it is possible to indicate, from a historical-contextual
perspective, that the piece features authentic characteristics.
Página 128/136
CHAPTER 7
GENERAL CONCLUSIONS
Mg. Evelyn Aguilera Arce91
Página 129/136
91
Director of Veritart. See full CV pp. 7-8.
7.1. General Conclusions
In virtue of the processes that in Veritart have been developed with the purpose of
determining the authenticity of the work attributed to the artist Pablo Ruiz Picasso, one
has to:
• T analyzed signature of the collage

correspond to the graphic morphology of a universe of 350 authentic signatures of
the author Pablo Ruiz Picasso, from which a set of 5 immutable graphic
phenomena were extracted, representative of the identity stamp of the author;
which allows establishing a technical presumption of authorship.
•T v ce and poplar woods was found to

be compatible with the use of poplar and pine wood used by the author in some of
his sculptures. Spruce wood is commonly referred to as pine wood, because it is a
type of conifer.
•I collage, dendrological technique, which

is a corrugated cardboard, is compatible with some of the compositional elements
that Picasso used in some of his collages and sculptures.
•I w , k , w ce that
none of the three components found are an argument of chronological orientation
of the work. Titanium dioxide in the form of rutile, has been found in pre-
Columbian ceramics and other archaeological pieces prior to the twentieth
century; It is also beginning to be synthesized in laboratories in the twentieth
century, so that the appearance in the sample of the collage does not guide the
hypothesis of an alleged date. Notwithstanding, this pigment is recommended for
Página 130/136
the technique gouache, widely used by Picasso.

In the present study, the diazopirazolone-type red pigment, by virtue of being a
synthetic organic pigment (SOP), has been commonly referred to as aniline (a
name that has now been corrected as a result of technological advances to
chemistry). In turn, aniline, as artistic material, is part of the materials of the cubist
productive period of the author Pablo Picasso.
The black pigment of amorphous carbon researched, is common in the palette of

the analyzed author, as it appears in several of his works.
Consequently, the studies of pigments do not give information of presumed date,

nevertheless, they are compatible with the type of material used by Picasso or
existing in the cubist productive period of the author.
• In reference to the literary materials used in the collage, it could be said that the
fragment of the newspaper Le Petit Journal, is part of the original tabloid dated
1893. On the other hand, the fragment of the book Historias de Ruiz de Alarcón,
corresponds to the 1914 edition and the fragments of the book Zizi of the work
analyzed, although they do not correspond to the original edition of the year 1892,
it cannot be ruled out that it can be compatible with a possible second or third
edition, supposedly dated up to the year 1912; This is why this part of the research
has been open to the possibility of further study.
•I x , w k w
style, technique and materials that the author Pablo Ruiz Picasso used in the
period of synthetic cubism. Also, that the presumed date of the work, is
compatible with the production of the author from years 1914 to 1915.
Página 131/136
In conclusion, we have arguments from different forensic and aesthetic disciplines,
which indicate that the synthetic collage made in a case for two violins, has authentic
characteristics.
Santiago de Chile. January 2017.
Página 132/136
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Expertise Report #353 - Picasso - Case For Two Violins

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Expert Report Nº 353

FORENSIC ANALYSIS AND CONTEXTUAL HISTORICAL

CHAPTER I. INTRODUCTION AND PRESENTATION OF THE ART WORK.......... 6

1.2. Presentation of the expertized company ................................................................................. 7

1.3. General Features of the given art work ................................................................................... 9

1.4. Images of the work................................................................................................................. 10

CHAPTER 2. CALLIGRAPHIC ANALYSIS ........................................................ 12

2.3. Expertized Signature. Dubitable Signature (DS) ..................................................................... 13

2.4. Signatures under investigation .............................................................................................. 15

2.4.1. Indubitable signature 1 ....................................................................................................... 15

2.4.2. Indubitable Signature 2 ....................................................................................................... 16

2.4.3. Indubitable Signature 3 ....................................................................................................... 17

2.4.4. Indubitable Signature 4 ....................................................................................................... 18

2.4.5. Indubitable Signature 5 ....................................................................................................... 19

2.6. Theoretical and practical grounds.......................................................................................... 20

2.7. Methodology and material applied........................................................................................ 21

2.8. Identification of immutable graphic phenomena of indubitable signatures and evidence of

2.8.1. Graphic Phenomenon 1....................................................................................................... 22

2.8.2. Graphic Phenomenon 2....................................................................................................... 25

2.8.3. Graphic Phenomenon 3....................................................................................................... 27

2.8.5. Graphical Phenomenon 5 .................................................................................................... 31

2.10. Conclusion of this chapter.................................................................................................... 34

CHARTER 3. MICROSCOPIC ANALYSIS AND IDENTIFICATION OF THE WOOD

3.2. Purpose of the investigation .................................................................................................. 37

3.3. Images and presentation of sample 1 .................................................................................... 38

3.4. Conclusion of sample 1 .......................................................................................................... 40

3.5. Images and presentation of sample 2 .................................................................................... 42

3.6. Conclusion of sample 2 .......................................................................................................... 44

3.7. Methodology for corrugated cardboard sample ................................................................... 47

3.8. Images and presentation of sample 3 .................................................................................... 47

3.9. Conclusion of sample 3 .......................................................................................................... 51

3.10. Conclusion of this chapter.................................................................................................... 53

CHAPTER 4. PIGMENTS ANALYSIS .............................................................. 54

4.2. Purpose .................................................................................................................................. 55

4.4. Applied methodology ............................................................................................................. 55

4.4.1. Samples ............................................................................................................................... 55

4.4.3. Analytical techniques .......................................................................................................... 57

4.5. Summary of results obtained and associated spectra ........................................................... 58

CHAPTER 5. DOCUMENTARY ANALYSIS ..................................................... 63

5.2. Purpose .................................................................................................................................. 64

5.3. Applied methodology ............................................................................................................. 64

5.5. Documents and their comparatives ....................................................................................... 66

5.5.1. Le Petit Journal .................................................................................................................... 66

5.5.1.1. Identification of the type of paper ................................................................................... 68

5.5.1.2. Identification of black engraving ...................................................................................... 68

5.5.1.3. Identification of the engraving of dotted patterns .......................................................... 69

5.5.1.4. Conclusion of Le Petit Journal comparison ...................................................................... 70

5.5.2. Book Historias de Ruiz de Alarcón ....................................................................................... 70

5.5.2.1. Identification of the back cover of the book cover .......................................................... 73

5.5.2.2. Identification of the texture of the cover liner ................................................................ 75

5.5.3. Zizi. Historia de un gorrión de París..................................................................................... 77

5.5.3.1. Identification of Zizi work................................................................................................. 79

CHAPTER 6. HISTORICAL-CONTEXTUAL ANALYSIS ..................................... 81

6.2. Picasso and music................................................................................................................... 85

6.3. Development of cubism ......................................................................................................... 86

6.4. Formal analysis of the collage under study............................................................................ 92

6.4.2. Material identification of the piece .................................................................................... 94

6.4.3. Esthetic analysis of the collage ......................................................................................... 102

6.4.3.3. The work as collage and sculpture ................................................................................. 119

6.4.3.4. On the literary elements present in the work................................................................ 122

6.5. Conclusions of this chapter .................................................................................................. 127

CHAPTER 7. GENERAL CONCLUSIONS ...................................................... 129

Bibliography ................................................................................................................................ 133