Growing Up Between Two Artists—Enchanting Portraits of Claude and Paloma Picasso

Pablo Picasso and Françoise Gilot met in 1943 in Paris. The scandalous icon of the avant-garde and the bold, young, and beautiful artist became fascinated by one another. Their relationship developed at the end of WWII, and the two soon embarked on a tour exploring the south of France. They eventually settled together in Vallauris, in a house named La Galloise. There, Picasso indulged in his new passion—ceramics. Gilot posed for several of his paintings and was able to pursue her own art, focusing primarily on drawing.

In 1947, Gilot gave birth to their son Claude, followed in 1949 by their daughter Paloma. The famous Cubist and an open-minded, up-and-coming painter (there was a 40-year age gap between the artists) encouraged their kids to draw, paint, and express themselves artistically from a very young age. Growing up in a free, experimental, and creative environment, even the simplest objects and everyday moments could feel magical. As Paloma Picasso recalls: “We were fed, kneaded, and shaped with art.”

Picasso Painting His Family

Both children soon started appearing in the works of their parents. In Picasso’s paintings, we can see the family life of the four. Those drawings and prints present a unique side of the famous painter, known for his characteristic, deformed, cool style. Some works might even be considered traditional, yet all are imbued with tenderness and warmth.

One of the most striking examples is Paloma and Her Doll on Black Background, a tender portrait by the artist-father, rendered in his avant-garde style.

Painting Motherhood

Paloma and Claude proved even more important for the art of Françoise Gilot, as motherhood became the central theme of her work at the time. The excitement of her new role as a mother prompted Gilot to return to painting in oils.

Gilot created many intimate and tender portraits of both Claude and Paloma. The experience of motherhood not only pushed her to oils but also had an impact on her style, which the artist herself described as “more baroque”. In many of these works, we can see an influence of Picasso’s simplified, geometric forms, flat planes, and distorted figures, but they are all transformed through Gilot’s unique lens. They also all have kinds of lyrical qualities.

Toys Become Art

Both artists were inspired by their children, their playfulness, and the way they discovered the world. Picasso would make drawings and even toys for them. His cut-out figures present harlequins, musketeers, and bullfighters. He also made jewelry for Paloma, as well as dolls, for which Gilot would knit the outfits.

One of the most fascinating artworks in the Barcelona exhibition is Baboon and Young. At the time, Claude was very curious about what was happening inside objects, especially toys. He received toy cars from his parents’ friends, and after playing with them for a while, he would take them apart to analyze them before putting them back together.

At one point, his father took one of his broken cars and made a sculpture out of it—a spectacular baboon whose head is made from a clearly distinguishable toy. Even though Claude loved it, he would later keep a closer eye on his toys.

Paloma Picasso remembers the joyful and creative energy that surrounded her during childhood. Her father loved dressing up in costumes and playing with the kids. Friends often brought him masks, hats, and traditional outfits from around the world, so there was always plenty to choose from. They organized small parades, with Picasso playing on a trumpet, and Gilot dancing with castanets in her hands. The children imitated the artistic life around them. They even staged exhibition openings of their own works, during which they sold their paintings and drawings to the guests of La Galloise.

As recalled by Paloma Picasso, Françoise Gilot was the one who tirelessly read their favorite children’s stories. For Christmas 1952, she wrote and illustrated a poetic book for Paloma and Claude. Both kids were featured in it as heroes. Gilot titled the book Paloma Sphynx—in reference to Paloma being a silent child.

Tribute to Moments of Happiness

In 1952, Picasso created Four Shadow Silhouettes—the outlines of Claude, Paloma, Françoise, and himself as enigmatic shadow puppets. A year later, Gilot became the only woman to leave Picasso on her own terms.

Recognized for his groundbreaking art, Picasso is also known for his abusive behavior towards his partners. The breakup between Gilot and Picasso came after 10 years of relationship, and it turned rather ugly. In her best-selling book Life with Picasso, Gilot recalls how he destroyed some of her artworks and used his position in the art world to sabotage her career.

Yet, the two also shared years of love, intimacy, and respect for each other’s art. This is exactly the period of pure happiness that the Picasso Museum in Barcelona is trying to recreate in its latest show, Growing up Between Two Artists. A Tribute to Claude Picasso.

Curated by Paloma Picasso herself and Emmanuel Guigon, the museum’s director, the exhibition is an intimate journey into the private world of one of the most famous artists of the 20th century. Not only does it present the lesser-known side of Picasso, but it also highlights Françoise Gilot, presenting her as a full-fledged artist in her own right, equal to Picasso, rather than just a mother and muse. Paintings, ceramics, illustrations, and toys are accompanied by intimate photographs of everyday life in La Galloise. It is the first such big exhibition of Gilot’s work in Barcelona, and a great chance to see Picasso’s lesser-known pieces.

Growing up Between Two Artists. A Tribute to Claude Picasso is on view at Museu Picasso in Barcelona, Spain, until October 26, 2025.