Modern and Contemporary Art
Photo credit: Yale University Art Gallery
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Artist: Pablo Picasso, Spanish, active France, 1881–1973

First Steps

Paris, May 21, 1943; revised summer 1943

Oil on canvas

130.2 x 97.1 cm (51 1/4 x 38 1/4 in.) framed: 134.3 x 101 x 7 cm (52 7/8 x 39 3/4 x 2 3/4 in.)
Gift of Stephen Carlton Clark, B.A. 1903
20th century
On view*

Samuel M. Kootz Gallery, New York (bought from the artist in 1947); Stephen C. Clark, New York (bought in 1948). (Provenance according to Kootz, letter, New York, April 23, 1964).


Cahiers d’Art 15–19 (1944): ill.

Harriet Janis and Sidney Janis, Picasso, The Recent Years: 1939–1946 (Garden City, N. Y.: Doubleday & Company, Inc., 1946), 105, fig. 3.

Alfred H. Barr, Jr., Picasso: Fifty Years of His Art (New York: Museum of Modern Art, 1946), 232–33, 246, ill.

Juan Merli, Picasso: El artista y la obra de nuestro tiempo, 2 (Buenos Aires: El Ateneo, 1948), fig. 36.

Robert M. Coates, “The Art Galleries,” New Yorker (February 7, 1948): 62–63.

Antonina Vallentin, Pablo Picasso (Paris: A. Michel, 1957), 353.

“Accessions of American and Canadian Museums,” Art Quarterly 21 (1958): 229, ill.

“Exhibitions,” College Art Journal 19 (1959): 355, ill.

“Recent Gifts and Purchases,” Yale University Art Gallery Bulletin 25, no. 1 (April 1959): 36–37, ill.

“Yale Exhibits Clark Bequest,” Art Journal 21 (1961–62): 61.

Christian Zervos, Pablo Picasso, 13 (Paris: Éditions Cahiers d’Art, 1962), no. 36, fig. 17.

Sir Roland Penrose, Picasso: His Life and Work, 2 (New York: Schocken Books, 1962), 307, fig. 21.

Pablo Picasso, exh. cat. (Amsterdam: Stedelijk Museum, 1967).

Francoise Forster-Hahn, French and School of Paris Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1968), 21-2, ill.

Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), fig. 113.

“Picasso Exhibition at Acquavella Galleries,” The Connoisseur (1975): 312–13, ill.

Jane Fluegel, Pablo Picasso: A Retrospective, ed. William Rubin, exh. cat. (New York: Museum of Modern Art, 1980).

Mary Mathews Gedo, Picasso: Art as Autobiography (Chicago: University of Chicago Press, 1980).

Milton Esterow, “David Hockney’s ‘Different Ways of Looking’,” Artnews (January 1983): 52.

Alan Shestack, ed., Yale University Art Gallery Selections (New Haven, Conn.: Yale University Art Gallery, 1983), 84–85, ill.

Alan Shestack, ed., Yale University Art Gallery: Selections (New Haven, Conn.: Yale University Press, 1983), 84–85, ill.

Pierre Daix, Picasso: Life and Art (New York: Harper-Collins, 1987), 271.

Paul Schimmel and Judith E. Stein, eds., The Figurative Fifties: New York Figurative Expressionism, exh. cat. (Newport Beach, Calif.: Newport Harbor Art Museum, 1988).

Jean Sutherland Boggs, Picasso and Things, exh. cat. (Cleveland: Cleveland Museum of Art, 1992), 358, ill.

John Charlot, “The Source of Picasso’s “First Steps:” Jean Charlot’s “First Steps”,” Kunstgeschichte (1992): 275–78.

Robert Rosenblum, Picasso and the War Years, 1937–1945, ed. Steven A. Nash, exh. cat. (San Francisco: de Young Museum, Fine Arts Museums of San Francisco, 1998), 35, 86, 95, 187, ill.

Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 175, ill.

Michael Conforti et al., The Clark Brothers Collect: Impressionist and Early Modern Paintings, exh. cat. (Williamstown, Mass.: Sterling and Francine Clark Art Institute, 2006), 177, 180, 188, 316, 340, fig. 147.

Traute M. Marshall, Art Museums Plus: Cultural Excursions in New England (Hanover, N.H.: University Press of New England, 2008).

Susan Greenberg Fisher et al., Picasso and the Allure of Language, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2009), 90, 149–61, 186, no. 19, ill.

“Looking to Learn, Learning to Teach,” Yale University Art Gallery Bulletin (2013): 41, fig. 3.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.