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Fraquelli, S., Cowling, E., Silver, K., Vasseur, D. H., & Bremner, A. (2016). Chronology. In S. Fraquelli, E. Cowling, K. Silver, D. H. Vasseur, & A. Bremner (Eds.), Picasso: The Great War, Experimentation, and Change (pp 161-163). Scala Arts Publishers Inc.

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• TITLE: Pablo Picasso’s Cubism in Cadaqués, 1910

  AUTHORS: Enrique Mallen

  KEYWORDS: Picasso, Fernande Olivier, Cadaqués, Semiological Cubism

  JOURNAL NAME: Advances in Historical Studies, Vol.15 No.2, June 25, 2026

  ABSTRACT: In the summer of 1910, Pablo Picasso stayed in Cadaqués, a small coastal town in Catalonia. The main evidence for the exact dates of the trip to Cadaqués comes from published letters, postcards, and memoirs. That period became a key moment in the development of Analytical Cubism, as has been argued by several authors. During this stay, Picasso pushed Cubism toward greater abstraction: forms were fragmented into overlapping planes, space became ambiguous, and subjects nearly dissolved into geometry. The goal was not to paint objects as they appear from a single viewpoint, but to analyze their structure by showing multiple perspectives at once. Objects were broken into intersecting planes and faceted surfaces, almost like visual dissection. This would lead to a second “Semiological Phase” of Cubism—especially around 1911-1914—when Cubist painting stopped mainly analyzing forms and began functioning more like a system of signs.