Abstract
The move Picasso made in 1912 away from the austerity of hermetic Cubism and towards a more explicit acknowledgment of life outside the studio has been carefully charted in histories of Cubism. Most recently Pierre Daix noted his change of companion, Eva for Fernande, and of locality, the cafe terraces of Montparnasse for the village bohemia of Montmartre, as contributory factors in the development of an art of everyday life whose iconography was that of the cafe table. Shortly after moving to his new studio on the Boulevard Raspail in October, Picasso began to explore the pictorial possibilities of papiers colles in a series of small charcoal drawings on paper that addressed subjects of everyday city life with a new freshness, making deft and lighthearted use of newspapers, food and drink labels, and sheet music.
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