Abstract
In a series of landscape paintings and drawings done in Spain in the summer of 1909, Picasso evolved a complex formal language that was critical to the development of Cubism. During that vital summer, he also took photographs of the same motifs he rendered. From unpublished letters he wrote to Gertrude Stein, detailed analyses of the photographs that have survived, and evidence in other correspondence and paintings, this article suggests that photography may have played a part in Picasso's work of 1909 and in the advancement of that new Cubist language.
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