The weakly-supported theories that prevail regarding Picasso’s highly fertile period dating from 1905 to 1907 have hindered a proper understanding of the artist’s work, and, to some extent, of part of his later production. In my research on the subject, I have reviewed these theories and analyzed the pieces based on a new series of parameters of interpretation.1 In this paper I will attempt to provide a general notion of the matter, which I believe can offer a new contribution to the historiography of Picasso’s oeuvre.
1 C. Boncompte Coll, Iconografía picassiana entre 1905 y 1907. Influencia de la pintura pompeyana, doctoral thesis directed by Dr. Lourdes Cirlot and defended on November 9, 2009 at the University of Barcelona (see http://www.tesisenxarxa.net/TDX-1120109-093323/).