Abstract
Picasso devoted himself to the creation of portraits more than any other modern artist. Through the inspection of the relation between his self-portraits and the portraits of his intimate friends, his loves, and children, which are frequently seen in his works, and through the discussion of the repeated imagery of death in his self-portraits and other portraits as well, this paper proves that Picasso subverted the traditional ways in portrait painting, opening up the possibilities of expressions by the use of symbols, metaphors and by the way of tranformation; besides, the paper manifests the consistancy in his way of dealing with the self-portraits and the portraits and the transformation of his style of painting, and the indivisibility between those mentioned and other kinds of painting; most importantly, no matter who the characters in his paintings were, what Picasso actually painted was himself and what he probed was painting itself. He just projected himself on the character in the painting and made a transformation. As far as this is concerned, his self-portraits and portraits actually have the same meaning.
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