PICASSO dominated the exhibition he shared with Braque and Matisse at the Durand-Ruel Galleries, by virtue of his richness, variety and intensity, as well as his numerical superiority. The Letter, The Coiffure and Purple. Harlequin represented him in his most classic mood, with that monumental solidity of line that always recalls Degas. These and his eight new watercolors, dated 1933, are what the old Chinese masters used to call “paintings with bones” —paintings based on a visible outline sketch. In Maternity we had a lovely instance of his “blue period.” In Woman Asleep we had him caricaturing his own classicism. In the famous Woman of Avignon we had Picasso, the purely abstract. In Slice, of Melon, and Ram's Head, we had still-lifes between the architectural and the abstract. But his most triumphant achievement in this exhibition was Three Masks, Fontainebleau, 1921—a celebrated example of pseudo-cubist distortion. Like so much of Picasso's work it is eloquent without being in the least “literary.” Thr...