Discover 5 of Picasso’s Printing Techniques at the New British Museum Exhibition

The artworks are arranged chronologically, starting with Picasso’s early professional printmaking experiments of the early 1900s to the late outpouring of prints before his death in 1973—most notably his 1986 347 Suite.

Much like in his paintings, the prints on show reveal Picasso’s stylistic evolution from his Blue Period to Naturalism, from Cubism to Surrealism.

It is interesting to notice the common themes that run throughout. Sex is a prominent one—unsurprising for an artist known for his many depictions of intimacy in his oeuvre, as much as for the fiery and often abusive nature of his relationships. Picasso also returns again and again to the figure of the bull, sometimes in the form of a Minotaur (which he uses often in his Greco-Roman-inspired naturalistic period). There are also continuous references to and depictions of artists who inspired him, especially Rembrandt and Goya.

The highlight of the exhibition, however, is how it sheds light upon Picasso’s mastery of different printmaking techniques. He was relentless in his experimentation, mixing methods and trying new ones altogether, never afraid to push the boundaries of conventional techniques. The exhibition showcases examples of them all.

Here are five techniques Picasso used in his printmaking career, with related artworks you can see at the new British Museum exhibition.

1. Etching

This is one of the most striking artworks in the exhibition and Picasso’s first-ever print as a professional artist. It is an etching, one of the first techniques he had tried. When creating an etching, artists use a sharp point to cut through a wax-coated metal plate. It is a definite example of his Blue Period (1901–1904), during which he tended to depict people at the margins of society, often in pain and poverty.

2. Lithography

After World War II, Picasso began to experiment with lithography. This is a technique in which the artist draws with oil-based inks that repel moisture when the plate is dampened. This artwork is the portrait of Françoise Gilot, Picasso’s partner from the late 1940s.

3. Sugar Aquatint

This piece is one of the most remarkable in the exhibition. It is an example of sugar aquatint, a technique in which the artist draws using a sugar-based solution on a metal plate. The plate is then treated and dipped in acid. Picasso used this technique widely in his printmaking experiments, also mixing it with other techniques. It is particularly effective for creating fuzzy lines and marks, which works well for the feathers of this hen.

4. Drypoint

This print was executed in drypoint. It is a variation of etching where an artist scrapes directly on a metal plate rather than on a wax coating. The figure represents artist Dora Maar, who was Picasso’s lover between 1936 and 1945. Picasso made a number of portraits of her, the most famous being The Weeping Woman (1937).

5. Linocut

This is the title piece of the exhibition and one of the most remarkable in the collection. It is considered Picasso’s highest achievement in linocut, a technique in which the artist cuts away the negative in a sheet of linoleum. This particular artwork is all the more impressive because Picasso created it from four superimposed different-colour sheets—yellow, green, red, and black. The result is a stunning display of light and color.

Visit the Picasso: printmaker exhibition at the British Museum, London, UK, from now until March 30, 2025.