how many black eyed pea restaurants are there

As of April 2017, Black-eyed Pea has a total of 10 locations, including just one in Texas and nine in Colorado. The only Texas location is in Arlington, while the vast majority of the Colorado restaurants are in the Denver area. Many of the Texas locations had shut down by that time.
In December 2008, former corporate employees Stephen Shaw and Alan Laughlin, along with Steve's brother Jim Shaw, purchased all the rights to the Colorado locations of Black-eyed Pea. The three have begun changing menu items and pushing more advertising.

Black-eyed Pea (restaurant)

Black-eyed Pea is a United States restaurant chain, with outlets primarily in Texas and Colorado.

Two corporate entities operate the restaurants.[1] The lone Texas restaurant is operated by Restaurants Acquisition I, L.L.C.,[2][3] whose company is based in Upper Kirby, Houston.[4][5]

The Colorado restaurants are operated by RMR Colorado, LLC, headquartered in Greenwood Village, Colorado in Greater Denver.[6][7]

Black-eyed Pea was founded in 1975 by Dallas restaurateur Gene Street and Phil Cobb. The first location opened on Cedar Springs Road in Oak Lawn and closed January 2, 2016, after 40 years of operation. The chain eventually expanded across the American South. Prufrock  expanded the chain to 130 locations and sold to Unigate PLC for about $65 million.

In early 1997, DenAmerica purchased the Black-eyed Pea restaurant chain from  Unigate plc, a British food manufacturer and distributor.

On November 12, 2001, DenAmerica, now operating as Phoenix Restaurant Group, filed for Chapter 11 bankruptcy protection. This resulted in the closing of 48 Black-eyed Pea locations, reducing the chain to 44 locations (not including the Colorado locations, whose owners were in better financial shape).[8] In 2002, under new management, Black-eyed Pea was reformatted as a "country casual" chain by adding more appetizers and seafood offerings, along with more grilled items, as well as an increased emphasis on its bar.[9]

Phoenix Restaurant Group Inc. was headquartered in Madison, Tennessee.[10]

As of September 28, 2016, 12 of the 13 Black-eyed Pea restaurants in Texas shuttered their doors with little notice after filing bankruptcy in 2015.
[11]

Black-eyed Pea's menu features home-style Southern U.S. cuisine such as fried catfish, chicken fried steak (including a "Texas Sized" version that takes up an entire plate), pot roast, mashed potatoes, fried okra, broccoli and rice casserole, corn bread, and rolls. Main entrees are usually ordered with a choice of two vegetables. The signature dish is the namesake of the chain, "black-eyed peas."

The restaurants also have full liquor service.

The Dixie House (now closed) is located in the Lakewood area of east Dallas, Texas. It served a variety of Southern, home-cooked style foods, such as a signature chicken-fried steak.[12] The Dixie House was acquired by Black-Eye  and the two restaurants shared many menu items. It retained a distinct, neighborhood-restaurant style. It received a mention in the 2008 Best Neighborhood Restaurant notices of D Magazine.[13]

Coordinates: 32°48′49″N 96°45′09″W / 32.813685°N 96.752568°W / 32.813685; -96.752568


who guards the tomb of the unknown soldiers

The tomb guards are soldiers of the United States Army. The first military guards were troopers from the 3rd Cavalry, "Brave Rifles", who were posted nearby on Fort Myer. Since April 6, 1948, (known then as "Army Day"), when the regiment was reactivated, it has been guarded by soldiers from 3rd Infantry Regiment, "The Old Guard". The Old Guard is also posted to Fort Myer, Virginia, adjacent to Arlington National Cemetery. It is considered one of the highest honors to serve as a Sentinel at the Tomb of the Unknowns. Fewer than 20 percent of all volunteers are accepted for training and of those only a fraction pass training to become full-fledged Tomb Guards. This attrition rate has made the Tomb of the Unknown Soldier Guard Identification Badge the second least-awarded qualification badge of the United States military (the first being the Astronaut Badge).[18]

Tomb of the Unknown Soldier (Arlington)

The Tomb of the Unknown Soldier or the Tomb of the Unknowns is a monument dedicated to U.S. service members who have died without their remains being identified. Having no officially designated name, it is located in Arlington National Cemetery in Virginia, United States of America. The World War I "Unknown" is a recipient of the Medal of Honor, the Victoria Cross, and several other foreign nations' highest service awards. The U.S. Unknowns who were interred are also recipients of the Medal of Honor, presented by U.S. Presidents who presided over their funerals.[1][2][3]

On March 4, 1921, the United States Congress approved the burial of an unidentified American serviceman from World War I in the plaza of the new Memorial Amphitheater. On November 11, 1921, the unknown soldier brought back from France was interred below a three-level marble tomb. The bottom two levels are six marble sections each and the top at least nine blocks with a rectangular opening in the center of each level through which the unknown remains were placed through the tomb and into the ground below. A stone, rather than marble, slab covers the rectangular opening.[4][5][6]

Since 1921 the intent was to place a superstructure on top of the Tomb, but it was not until July 3, 1926, that Congress authorized the completion of the Tomb and the expenditure of $50,000 (with a completed cost of $48,000). A design competition was held and won by architect Lorimer Rich[nb 1] and sculptor Thomas Hudson Jones. An appropriation from Congress for the work was secured and on December 21, 1929, a contract for completion of the Tomb itself was entered into. The Tomb would consist of seven pieces of marble in four levels (cap, die, base and sub-base) of which the die is the largest block with the sculpting on all four sides.[4][7]

Quarrying the Yule marble (3.9 miles south of Marble, Colorado by the Vermont Marble Company) was a one-year process beginning in 1930. The cap was quarried on the first attempt but the base required three tries. The large middle block also required three tries. In late January 1931, the 56 ton middle block was lifted out of the quarry. The quarrying involved 75 men. When the block was separated from the mountain inside the quarry it weighed 124 tons. A wire saw was then brought into the quarry to cut the block down to 56 tons.

On February 3, the block reached the marble mill site (in the town of Marble) after a four-day trip from the quarry. Here it was crated, then shipped to Vermont on February 8. The block was sawn to final size in West Rutland, Vermont, and fabricated by craftsmen in Proctor, Vermont, before it was shipped by train to Arlington National Cemetery, Virginia.[8] By September, all 7 blocks were on the grounds of the Tomb site, at Arlington.

Assembly began in September 1931. An imperfection was found in the base, requiring three more quarryings. By the end of December 1931, the assembly was completed. Finishing work followed with the carvings on the die block by the Piccirilli Brothers under the direction of the sculptor Thomas Jones.[4][9] (The brothers also carved the Lincoln statue for the Lincoln Memorial). The Tomb was completed without formal ceremony on April 9, 1932.[10]

The Tomb[nb 2] was placed at the head of the grave of the World War I Unknown. West of this grave are the crypts of Unknowns from World War II (south) and Korea (north). Between the two lies a crypt that once contained an Unknown from Vietnam (middle). His remains were positively identified in 1998 through DNA testing as First Lieutenant Michael Blassie, United States Air Force and were removed. Those three graves are marked with white marble slabs flush with the plaza.

The Tomb has a flat-faced form and is relieved at the corners and along the sides by neo-classical pilasters set into the surface with objects and inscription carved into the sides. The 1931 symbolism[9] of the objects on the north, south and east sides changed over time.[4][7]

Tomb Dimensions[nb 3] as of 2004[11] (xxx)* 1931 die block dimension coming out of the quarry.[8]

On Memorial Day, 1921, four unknown servicemen were exhumed from four World War I American cemeteries in France. U.S. Army Sgt. Edward F. Younger, who was wounded in combat, highly decorated for valor and received the Distinguished Service Cross in "The Great War" selected the Unknown of World War I from four identical caskets at the city hall in Châlons-en-Champagne, France, on October 24, 1921.[6] Younger selected the World War I Unknown by placing a spray of white roses on one of the caskets. He chose the third casket from the left. The chosen Unknown was transported to the United States aboard the USS Olympia. Those remaining were interred in the Meuse Argonne Cemetery, France.[6]

The World War I Unknown lay in state in the Capitol Rotunda from his arrival in the United States until Armistice Day, 1921. On November 11, 1921, President Warren G. Harding officiated at the interment ceremonies at the Memorial Amphitheater at Arlington National Cemetery. During the ceremony, the World War I Unknown was awarded the Victoria Cross by Admiral of the Fleet Lord Beatty, on behalf of King George V of the United Kingdom.[12] (The United Kingdom Victoria Cross was placed with the soldier. Earlier, on March 4, 1921, the British Unknown Warrior was conferred the U.S. Medal of Honor by General of the Armies John Pershing.) In 1928, the Unknown Soldier was presented the Silver Buffalo Award for distinguished service to America's youth by the Boy Scouts of America.[13]

On August 3, 1956, President Dwight D. Eisenhower signed a bill to select and pay the tribute to the Unknowns of World War II and the Korean War.[14] The selection ceremonies and the interment of these Unknowns took place in 1958. The World War II Unknown was selected from remains exhumed from cemeteries in Europe, Africa, Hawaii, and the Philippines.[15]

Two Unknowns from World War II, one from the European Theater and one from the Pacific Theater, were placed in identical caskets and taken aboard the USSÂ Canberra, a guided-missile cruiser resting off the Virginia Capes. Navy Hospital Corpsman 1st Class William R. Charette, then the U.S. Navy's only active-duty Medal of Honor recipient who was an enlisted man, selected the World War II Unknown. The remaining casket received a solemn burial at sea.[15]

Four unknown Americans who died in the Korean War were disinterred from the National Cemetery of the Pacific in Hawaii. Army Master Sergeant Ned Lyle made the final selection.[15]

Both caskets arrived in Washington on May 28, 1958, where they lay in the Capitol Rotunda until the morning of May 30, when they were carried on caissons to Arlington National Cemetery. President Eisenhower awarded each the Medal of Honor, and the Unknowns of World War II and the Korean War were interred in the plaza beside their World War I comrade.[15]

The designation of the Vietnam Unknown proved to be difficult â€“ with improvements in DNA testing it is possible, though unlikely, that the recovered remains for every unknown soldier killed in the Vietnam War will be identified.

The Vietnam Unknown service member was originally designated by Medal of Honor recipient U.S. Marine Corps Sgt. Maj. Allan Jay Kellogg, Jr., during a ceremony at Pearl Harbor, Hawaii, May 17, 1984.

Each branch of the Armed Services took part in the transportation to honor the unknown. The Marines from Marine Barracks Hawaii consisted of an Honor Guard of 9 enlisted men and Lt. Denis Muller. The designated Vietnam Unknown was transported aboard the USSÂ Brewton, where the Marines stood guard over the casket during the voyage to Naval Air Station Alameda, California. At Travis, the debarkation ceremony turned the remains over to the USAF on May 24. The next day, the remains of were flown from Travis Air Force Base, California, arriving at Andrews Air Force Base, Maryland. Once there the remains were turned over to the US Army, where the remains were taken to Fort McNair for placement upon the horse-drawn wagon which later carried the Unknown to the Capital Rotunda for display before interment. While on display for public viewing, all branches of the US Armed Forces stood in honor, guarding the casket of the Unknown for 2 weeks.

Many Vietnam veterans and President Ronald Reagan and Nancy Reagan visited the Vietnam Unknown in the U.S. Capitol. An Army caisson carried the Vietnam Unknown from the Capitol to the Memorial Amphitheater at Arlington National Cemetery on Memorial Day, May 28, 1984.

President Reagan presided over the funeral, and presented the Medal of Honor to the Vietnam Unknown, and also acted as next of kin by accepting the interment flag at the end of the ceremony. The interment flags of all Unknowns at the Tomb of the Unknowns are on view in the Memorial Display Room.

In 1994, Ted Sampley, a POW/MIA activist, determined that the remains of the Vietnam Unknown were likely those of Air Force 1st Lt. Michael Joseph Blassie, who was shot down near An Lộc, Vietnam, in 1972. Sampley published an article in his newsletter and contacted Blassie's family, who attempted to pursue the case with the Air Force's casualty office without result. In January 1998 CBS News broadcast a report based on Sampley's investigation which brought political pressure to support the identification of the remains.[16] The body was exhumed on May 14, 1998. Based on mitochondrial DNA testing, Department of Defense scientists confirmed the remains were those of Blassie. The identification was announced on June 30, 1998, and on July 10, Blassie's remains arrived home to his family in St. Louis, Missouri; he was reinterred at Jefferson Barracks National Cemetery on July 11.[17][nb 4]

The slab over the crypt that once held the remains of the Vietnam Unknown has since been replaced. The original inscription of "Vietnam" and the dates of the conflict has been changed to "Honoring and Keeping Faith with America's Missing Servicemen" as a reminder of the commitment of the Armed Forces to the fullest possible accounting of missing service members.

The soldier "walking the mat" does not wear rank insignia, so as not to outrank the Unknowns, whatever their ranks may have been. Non-commissioned officers (usually the Relief Commander and Assistant Relief Commanders), do wear insignia of their rank when changing the guard only. They have a separate uniform (without rank) that is worn when they actually guard the Unknowns or are "posted."

The duties of the sentinels are not purely ceremonial. The sentinels will confront people who cross the barriers at the tomb or who they perceive to be disrespectful or excessively loud.

Over the years there have been several different types of weapons used by the tomb guards. The changes in weapons reflect the changes in the Army, including M1903 Springfield rifle, M1 Garand and M14 rifles, M1911 and M9 pistols. Tomb guards currently carry M14 rifles, which are affixed to ceremonial rifle stocks. These rifles are cleaned daily and kept ready for use at all times.[19]

There is a meticulous routine that the guard follows when watching over the graves.[20] The tomb guard:

After each turn, the guard executes a sharp "shoulder-arms" movement to place the weapon on the shoulder closest to the visitors to signify that the guard stands between the Tomb and any possible threat.

Out of respect for the interred, the sentinels command silence at the tombs. If the guard walking the mat must vocally confront a disturbance from spectators, or a threat, the routine is interrupted, and remains so until the disturbance is under control. The sentinel will exit the mat, place the weapon in port arms position, and confront the disturbance. Once under control, the sentinel then walks on the pavement to the other side of the mat, turns to shoulder arms, and continues the routine.

Twenty-one was chosen because it symbolizes the highest military honor that can be bestowedâ€”the 21-gun salute.

The mat is usually replaced twice per year: before Memorial Day and before Veterans Day. This is required because of the wear on the rubber mat by the special shoes worn by tomb guards. The sentinels have metal plates built into the soles and inner parts of their shoes to allow for a more rugged sole and to give the signature click of the heel during maneuvers. The sentinels wear sunglasses because of the bright reflection from the marble surrounding the Tomb and the Memorial Amphitheater.

On the ground not covered by the mat, a rust pattern in the tile can be seen that corresponds to the precise steps taken during the changing of the guard. The metal from the guards' boots causes the brown rust markings on the stone. On the mat itself, footprints caused by standing guard are also visible.

While Arlington National Cemetery is open, during the day in summer months from April 1 to September 30, the guard is changed every half hour. During the winter months, from October 1 to March 31, the guard is changed every hour. After the cemetery closes to the public (7 p.m. to 8 a.m. April through September, and 5 p.m. to 8 a.m. October through March), the guard is changed every 2 hours. The ceremony can be witnessed by the public whenever Arlington National Cemetery is open.[21][22]

The guard change is very symbolic, but also conducted in accordance with Army regulations. The relief commander or assistant relief commander, along with the oncoming guard, are both required for a guard change to take place. The relief commander orders the guard being relieved to "pass on your orders" to the oncoming guard. The guard being relieved will say to the oncoming guard, "Post and orders remain as directed." The oncoming guard's response is always, "Orders acknowledged." During changes when the public is witnessing the ceremony, the commander will inform the public that the ceremony is about to take place and that those in attendance should remain "silent and standing" throughout the entire event.

A civilian guard was first posted at the Tomb on November 17, 1925, to prevent, among other things, families from picnicking on the flat marble slab with views of the city. A military guard was first posted on March 25, 1926. The first 24-hour guard was posted on midnight, July 2, 1937. The Tomb of the Unknowns has been guarded continuously, 24 hours a day, 7 days a week, since that time.[23] Inclement weather,[24][25] terrorist attacks,[26] et cetera, do not cause the watch to cease.[27]

Since 1948, the tomb guards, a special platoon within the 3rd U.S. Infantry Regiment (The Old Guard) work on a team rotation of 24 hours on, 24 hours off, for five days, taking the following four days off. A guard takes an average of six hours to prepare his uniform – heavy wool, regardless of the time of year – for the next day's work. In addition to preparing the uniform, guards also conduct physical training, tomb guard training, participate in field exercises, cut their hair before the next work day, and at times are involved in regimental functions as well. Tomb guards are required to memorize 35 pages of information about Arlington National Cemetery and the Tomb of the Unknown Soldier, including the locations of nearly 300 graves and who is buried in each one.[21]

A special Army decoration, the Tomb of the Unknown Soldier Guard Identification Badge is authorized for wear after passing a detailed test of 100 questions (from a pool of more than 300), a uniform test with two gigs (errors) or fewer (measured to the 1/64"), and a test on the guard changing sequence. After serving honorably for a period of nine months, and having passed the sequence of tests, a tomb guard is permanently awarded the Badge. Since the first award on February 7, 1958, fewer than 650 soldiers have completed training and been awarded this badge, including four women. A small number of tomb guard Identification Badges have also been retroactively awarded to soldiers who served as Guards before 1959. Those numbers make the Badge the second rarest award currently issued in the United States Army; only the Army Astronaut Badge is rarer.[nb 5]

The badge was designed in 1956 and first issued to members of the Honor Guard at the Tomb of the Unknowns on February 7, 1958. The badge was first issued only as a temporary wear item, meaning the soldiers could only wear the badge during their tenure as members of the honor guard. Upon leaving the duty, the badge was returned and reissued to incoming soldiers. In 1963, a regulation was enacted that allowed the badge to be worn as a permanent part of the military uniform, even after the soldier's completion of duty at the Tomb of the Unknowns.

Cracking and weathering are causing concerns for the long-term preservation of the Tomb Monument. A November 1963 report first recorded horizontal cracking of the monument's marble die block. Though this was the first time that the damage was documented, the report made it clear that the cracks had become visible some time before that date.[28]

In 1963–1964, there were two cracks—referred to as "primary" and "secondary"—extending approximately 34 feet around the die block. By 1974, they had extended to 40 feet. They grew another 4.6 feet over the next 15 years. Inspection has determined that the cracks have increased horizontally since 1990. Analysis also indicates that the cracks are not surficial but extend partially through the block and will eventually extend all the way through.[28]

The 1990 report documented deterioration of the marble's surface. As much as 2.85Â mm of the marble surface has been lost through weathering. The study projected that before 2010, the Tomb Monument will have been weathered enough to have a negative effect on the experience of the visitors and concludes the only solutions are to enclose or replace the monument.[28]

Several options have been considered to deal with the damage. Officials at Arlington National Cemetery determined that proper repair can return the Tomb Monument to an acceptable appearance. However, because the cracks will continue to lengthen and widen, continuous grouting, regrouting, touch-up, monitoring, and maintenance would be required. Therefore, a report commissioned by Arlington National Cemetery and published in June 2006 confirmed the Cemetery's conclusion that "replacement of the three pieces of the Tomb Monument is the preferred alternative". A final decision was scheduled to be made on September 30, 2007.[28]

The National Trust for Historic Preservation objects to the plan to replace the authentic Tomb Monument. The Trust expressed concern that Arlington National Cemetery seeks to replace the existing monument with marble from the original quarry, which experts agree is likely eventually to crack.[29]

The Trust has observed that the Cemetery's own 1990 report recommended that the monument be repaired and that the Cemetery, in fact, commissioned Oehrlein Architects to repair the stone. In 2007, Mary Oehrlein informed Congressional staff members that: "The existing monument can easily be repaired, as was done 17 years ago, using conventional conservation methods to re-grout the cracks. Once repaired, the fault lines would be virtually invisible from the public viewing areas."[30][31]

On September 26, 2007, U.S. Senator Daniel Akaka announced that an amendment crafted together with Senator Jim Webb will be added to the National Defense Authorization Act for Fiscal Year 2008 (H.R. 1585) that would require a report on the plans of the Secretary of the Army and the Secretary of Veterans Affairs to replace the monument at the Tomb of the Unknowns. The secretaries would be required to advise Congress on the current efforts to maintain and preserve the monument. Additionally, they would have to provide an assessment on the feasibility and advisability of repairing rather than replacing the Tomb Monument. Finally, if the secretaries choose replacement, they would have to report those plans and detail how they intend to dispose of the current monument. Once the report is provided, the secretaries are prevented from taking action to replace the monument for at least 180 days. The Akaka-Webb amendment was included in the bill by unanimous consent of the Senate.[32] An amendment to the Fiscal Year 2008 Defense Authorization Bill authorized a review of the monument's condition. The bill also authorized repair, but not replacement, of the monument.[33] Final passage of the National Defense Authorization Act for 2008 (H.R. 4986) was signed by President Bush on January 28, 2008.

In 2003 John Haines, a retired car dealer, offered to donate a large slab of marble to the Arlington National Cemetery to replace the existing marble. Haines paid $31,000 for the marble slab.[34] The marble was not removed from the quarry, however, because imperfections were found and the block was rejected.

In June 2009 Arlington National Cemetery and the U.S. Army Corps of Engineers announced that the monument was to be repaired, not replaced.[35] In 2010, the cracks were filled but the repairs lasted only a few months.[36] As of June 2011, the cemetery was struggling to repair the cracks in the monument, one of which measured 28.4 feet (8.7 m) long, with another at 16.2 feet (4.9 m).[37] In September 2011, the cracks were filled again[36] and on October 21, 2011, inspection by the Corps of Engineers and other experts pronounced the repairs a success.[38]


what happened to the crown jewels of france

The French Crown Jewels (French: Joyaux de la Couronne de France) comprise the crowns, orb, sceptres, diadems and jewels that were symbols of Royal power between 752 and 1825. These were worn by many Kings and Queens of France. The set was finally broken up, with most of it sold off in 1885 by the Third French Republic. The surviving French Crown Jewels, principally a set of historic crowns, diadems and parures, are mainly on display in the Galerie d'Apollon of the Louvre, France's premier museum and former royal palace, together with the Regent Diamond, the Sancy Diamond and the 105-carat (21.0 g) Côte-de-Bretagne red spinel, carved into the form of a dragon.  In addition, some gemstones and jewels (including the Emerald of Saint Louis, the 'Ruspoli' sapphire and the diamond pins of Queen Marie Antoinette) are on display in the Treasury vault of the Mineralogy gallery in the Muséum national d'histoire naturelle.

French Crown Jewels

The Crown jewels comprise the instruments of the coronation, called the Regalia, and the jewels of the ruling family.

Since Pepin the Short in 752, the accession of the King of France was legitimized by a coronation ceremony called a sacre, since the emphasis was on the unction with the chrism of the Holy Ampulla, performed for the first time at Notre-Dame de Reims in 816 for Louis the Pious, then with the Crown of Charlemagne. From 888 to 922, then 1027, all monarchs were crowned until the French revolution, in the Notre-Dame de Reims cathedral (apart from Louis VI and Henry IV, who were crowned in Orléans and Chartres). After the revolution, only Emperor Napoleon I, Empress Josephine and King Charles X were crowned. Though not always used, a set of expensive crown jewels did exist and was augmented by various monarchs.

The Crown Jewels or Diamants de la Couronne de France, consisting of gemstones and jewellery,[1] became unalienable by decision of Francis I on June 15, 1530. The Côte-de-Bretagne red spinel was then among the 8 main jewels. They suffered important loss by the Catholic League in 1590 but were reconstituted by Henry IV and greatly enhanced by Louis XIV, notably with the gift of the 18 Mazarin diamonds and the purchase of the 'Royal French Blue' and 'Ruspoli' sapphire, later followed in 1717 with the Regent Diamond. Under Louis XV, they were kept in the Garde Meuble de la Couronne (Royal Treasury) in one of the pavilions of the Place de la Concorde, where they suffered a theft in 1792 and a sale in 1795 after their partial recovery. In 1814, Napoleon I had restored the crown jewels to 65,072 stones and pearls, not including the personal jewels of both Empress Josephine and Empress Marie-Louise. Enhanced during the Restoration and again during the Second Empire, they counted 77,662 stones and pearls, comprising 51,403 brilliant cut diamonds, 21,119 rose cut diamonds, 2962 pearls, 507 rubies, 136 sapphires, 250 emeralds, 528 turquoises, 22 opals, 235 amethysts and 500 other stones, when they were sold in 1885 by the Third Republic. Nevertheless, as in 1793, an important set of stones and pearls was sent to the Muséum national d'histoire naturelle and some of the most important jewels were bought back since 1953, which makes the collection still number more than 11,000 stones and pearls.[2]

The Regalia,[3] much lightly hit in 1590, were originally kept in the treasure of the Basilica of Saint Denis[4] from where they were removed in 1793 during the French Revolution. Some few pieces of the treasure, considered to present an artistic value, were preserved and sent to the Louvre, which sold 9 of them in 1798, the National Library, the Natural History Museum, and the archbishops of Rouen (5 items) and Paris. The others, were sold in 1793 like the chalice and two cruets of Saint Denis, or dismantled and melted down in April 1794, like the Crown of Charlemagne and the ones of Saint Louis[5][6] and the Queens,[7] with the rest of the basilica treasure including the cross of Saint Eligius, the screen of Charlemagne, the gilded altar of Charles the Bald or the large reliquaries. The litugical instruments kept in Reims suffered the same policy. The Regalia were restored or recreated for the coronation of Napoleon I, which at their turn suffered again partial destruction in 1819, and finally completed for the coronation of Charles X in 1825.

Of about 20 documented royal crowns of the Ancien Régime,[8] the only surviving one from the destructions of 1590 and 1793 is the crown of Louis XV.[9] The king had the Regent Diamond set in the lower part of the fleur-de-lis in the front of his crown, while eight of the famous Mazarin diamonds that the cardinal had bequeathed to the French Crown are set in the other seven fleur-de-lis and in the circlet of the crown.  Diamonds and colored gemstones are set between two rows of pearls on the circlet and are also set into the four arches that rise behind the fleur-de-lis and the eight ornamental points between the fleur-de-lis.  At the junction of these four arches is a small pedestal surrounded by two rows of small diamonds on either side of a row of small pearls.  Eight larger diamonds set between this pedestal and the arches give the effect of a sunburst when the crown is viewed from above.  On the pedestal rises a double fleur-de-lis formed of nine large diamonds, including the Sancy Diamond which forms the central upper petal of this double fleur-de-lis.  The gold brocade cap which lines the crown is also ornamented with large diamonds.

Since the Middle Ages, and previous to the making of this crown, the crowns of French kings were adorned with gemstones like on the crown of Charlemagne or the crown of Saint Louis, sometimes called the Sainte Couronne.[10] But some of the most valuable precious stones could be removed from them, since it was traditional for a French king to bequeath his crown to the treasury of the Abbey, now Basilica of St Denis, on their deaths.  This crown was also bequeathed to Saint Denis on the death of Louis XV, but not before the diamonds had been replaced with crystals, and it is on display presently in the Louvre, similarly set with crystals.

The crown of Napoleon was made by the jeweller Martin-Guillaume Biennais with antique cameos for the coronation of the Emperor in 1804. His gilded crown of laurels[11] was destroyed in 1819 by Louis XVIII with the one of Empress Josephine, the orb and the eagle sceptre. His coronation throne is at the Louvre[12] and the coronation ring of Empress Josephine at the Château de Malmaison.

The crown of Empress Eugénie[13] was created in 1855 by Gabriel Lemonnier for the World's fair, like the one of the Emperor which was destroyed in 1887. But Napoleon III finally chose not to be crowned.[14] Her diadem[15] by the same jeweller is as well presented in the Louvre with a large diamond brooch[16] by Alfred Bapst bearing two big Mazarin stones, as well as a large corsage diamond knot[17] and a pearl and diamond shoulder brooch,[18] both by François Kramer.

The sword used during the coronation of the kings of France is displayed at the Louvre museum with its 13th-century scabbard,[19] apart from the crown jewels. In the first part of the celebration, the king received the insignia of knighthood, consisting of spurs and the sword. Throughout the rest of the ceremony, the sword was entrusted to the "ConnÃ©table", who held it with the blade pointing upwards. The treasury of Saint-Denis possessed several medieval swords including the one of Saint Louis.  According to legend the coronation sword is "Joyeuse", [42] Charlemagne's sword.[20]  Its unusual build and ornamentation makes it difficult to date, but the parts probably date back from the 10th to 13th centuries.  Some believe it might be much older, even manufactured before Charlemagne's reign.

The coronation swords of Napoleon I and Charles X also were preserved in the Louvre museum, although the first was transferred to the Palace of Fontainebleau with most of the preserved litugical instruments and robes of the imperial ceremony and the latter stolen in 1976.

Some elements of the 12th to 16th centuries spurs were partially replaced for the coronation of Napoleon I.[21]

One of the few surviving pieces of the medieval French crown jewels is the sceptre that Charles V had made for the future coronation of his son, Charles VI, currently on display in the Louvre.[22]  It is over five feet long, and at the top is a lily supporting a small statuette of Charlemagne.[23] This evocation of Charlemagne may also explain why this sceptre was included in the imperial regalia of Napoleon I.[24]

The sceptre of Dagobert I was stolen in 1795 during the Revolution.

A uniquely French type of sceptre is the Main de Justice (Hand of Justice), which has as its finial an ivory Hand of God in a blessing gesture.[25]  Only the ivory finial itself appears to be medieval and probably comes from one of the three former Hands of Justice in the treasure of Saint Denis, perhaps the one of Saint Louis. The present golden rod which it terminates was probably made for either the coronation of Napoleon I [43] or that of Charles X.[44]  The addition of cameos and other medieval gemstones, like the 12th-century ring of Saint Denis which surrounds the junction of the finial and the replaced rod, represents a deliberate 19th-century anachronism.[26]

Another sceptre, the Baton of Guillaume de Roquemont,[27] and the ring of Saint Louis[28] are at the Louvre.

The collection keeps as well the 14th-century brooch or fermail said of Saint Louis, a large diamond shaped fibula bearing a fleur-de-lis in precious stones, which was used to hold the coronation's robe.[29]

The serpentine paten said to be of Abbot Suger of the 1st century BC or AD, associated with the Cup of the Ptolemies, was used at the coronation of queens and keeps its gem-studded gold Carolingian mountings of Charles the Bald.[30]

Among the most famous diamonds[31] preserved in the collection and now kept in the Apollo Gallery of the Louvre are the Sancy Diamond, which once had been part of the pre-Commonwealth Crown Jewels of England, the Hortensia pink diamond cut in 1678 for Louis XIV and above all the Regent Diamond.[32] The treatment of the Regent Diamond epitomised the attitude of the French Royal Family to the Crown Jewels. While the Regent Diamond was the centrepiece of the King Louis XV crown, and worn by him at his coronation in February 1723, Marie Antoinette, wife of Louis XVI, wore it in a black velvet hat. The Royal French Blue was transformed into the Hope Diamond now in the Smithsonian Institution in Washington, D.C..

With two remaining jewels of the Renaissance, the Côte-de-Bretagne red spinel and the Dragon perle, a pin shaped into the form of a delphin,  the crown jewels collection contains as well among others, the emerald set and pearl earrings of Empress Josephine, the micromosaic[33] and the emerald and diamond[34] sets of Empress Marie Louise, the pair of bracelets of rubies[35] and the emerald diadem[36] of the Duchess of Angoulême, the sapphire set of Queen Marie Amélie,[37] a diamond cross of the Order of the Holy Spirit and a diamond portrait box of Louis XIV.[38][39]

Some gemstones and jewels are on display in the Treasury vault of the Mineralogy gallery in the Muséum national d'histoire naturelle. They include the 51.60-carat (10.320 g) Emerald of Saint Louis,[40] the 135.80-carat (27.160 g) 'Ruspoli' sapphire,[41] the Topaze (28.10 carats) and great Emerald (17 carats) of Louis XIV, the diamond pins of Queen Marie Antoinette, the Diamond-portrait (9.10 carats) and the Amethyst of Empress Marie Louise, the great Opal of Louis XVIII, the bicolor Sapphire (19.67 carats), the Jonquille diamond (9.75 carats) and more than 800 pearls and stones. Furthermore, a set of 1 044 stones and pearls is kept at the École des Mines in Paris.

The Throne of Dagobert I coming from Saint Denis can now be seen on the Richelieu site of the National Library of France. The Cup of the Ptolemies was used by the queens to take ablution after holy communion. This masterpieces among hardstone carvings or engraved gems of Antiquity,[42]  was carved with Dionysiac vignettes and emblems, probably in Alexandria during the 1st century BC or the 1st century AD. It was stolen in 1804, and recovered without its Carolingian gem-studded gold mountings. Its serpentine paten is at the Louvre.

Some of the sovereign's robes of the coronation of Charles X and regalia specially made for this event including the Crown of Charles X and the Crown of Queen Marie Thérèse of Savoy are displayed in one of the chapels of the nave of the Basilica of Saint Denis.[43] The Crown of the Dauphin Louis Antoine Duke of Angoulême which subsists as well counts too among the six only surviving French crowns.

The Holy Ampulla reconstituted with some recovered fragments of the original chrism for the coronation of Charles X[44][45] in 1825, which was originally kept in the Abbey of Saint Remi, is now presented in the Palace of Tau next to the cathedral Notre-Dame de Reims with the coronation Chalice as well as several preserved sovereign's robes and gowns of kings of the Ancien Régime and the liturgical instruments made for the coronation of Charles X. They are displayed with the few remaining pieces of the medieval treasure of the cathedral and the Talisman of Charlemagne, a large sapphire said to have been given by the Caliph Harun al-Rashid which was found in the Emperor's grave in 1804 and later offered by Empress Eugenie. Since 1906, the content of the Holy Ampulla is kept in Reims archbishopric.[46]

The Crown Jewels were stolen in 1792 when the Garde Meuble (Royal Treasury) was stormed by rioters. Most, though not all, of the Crown Jewels were recovered eventually. Sancy Diamond was found in Russia at Vasily Rudanovsky collection. The Royal French Blue is believed to have been recut, and it is now known as the Hope Diamond.

The Hope is famously alleged to have been surrounded by bad luck.  Marie Antoinette who supposedly wore it was beheaded (in fact, it was actually worn by her husband, Louis XVI, although he too was beheaded).  Other owners and their families experienced suicides, marriage break-ups, bankruptcy, deaths in car crashes, falls off cliffs, revolutions, mental breakdowns, and deaths through drug overdoses.  It was even tangentially associated with the case of the murdered Lindbergh baby, when its then owner, silver heiress Evalyn Walsh McLean, pawned it to raise money that she ended up paying to a con-man unconnected with the actual kidnapping.  Most modern historians view the tales of a curse on the Hope to be spurious; the first mention of such tales is documented to 1908.  Pierre Cartier, the Parisian jeweler, is widely credited with publicizing the stories of a curse on the diamond in hopes of increasing its saleability. Since 1958, it has been in the Smithsonian Institution in Washington, D.C., where it is the single most-viewed object in the Smithsonian's collection.[citation needed]

The Crown Jewels were augmented by jewels added by Napoleon I and Napoleon III.

The last French coronation occurred in 1825 when King Charles X was crowned at Reims. The scale of the coronation was seen by critics to indicate a return to the absolutism of the ancien regime that had been ended by the Revolution of 1789. Some historians suggest that the very grandeur of the ceremony marked the beginning of the end for the Bourbon monarchy, with Charles's image as an old style monarch falling out of favour with the French public, who had much preferred the low-key monarchy of his brother, Louis XVIII. Louis Philippe of France, the last French king, was not crowned, and neither was Napoleon III, the last Emperor. Napoleon III's consort, Eugénie de Montijo, did have a crown made for her, though it was never used in an official coronation.

During the late 18th and 19th centuries the jewels survived the First French Republic, the Directorate, the First Empire, the Restoration, the July Monarchy, the Second French Republic and the Second Empire. However, the decision of Henri, Comte de Chambord not to accept the French Crown in the early 1870s ended not just the prospect of a royal restoration. It also led to the break-up and partial sale of the Crown Jewels. The Brazilian beauty Aimée de Heeren,[47] mistress of President Getúlio Vargas was known for being the largest private owner of the French Crown jewels, along with the Brazilian crown jewels and other important jewelry.

In 1875, the Third French Republic came into being with the passage of a series of Constitutional Laws. The interim presidency was replaced by a full "President of the Republic".

While few expected a royal restoration, certainly after the failure of the Seize Mai attempted royalist coup by the Marshal Patrice de Mac-Mahon, sitting President of the French Republic, the continuing agitation of extreme right-wing royalists, and the fear of a royalist coup d'Ã©tat, led radical deputies to propose the sale of the Crown Jewels, in the hope that their dispersal would undermine the royalist cause: "Without a crown, no need for a king" in the words of one member of the National Assembly. This controversial decision was implemented. All the jewels from the Crown Jewels were removed and sold in 1887, as were many of the crowns, diadems, rings and other items. Only a few of the crowns were kept for historic reasons, but with their original diamonds and gems replaced by colored glass. Some historic or unusual gems went to French museums, including the corsage brooch containing some of the 'Mazarin diamonds'[45], which is now in the Louvre, and the 'Ruspoli' sapphire, which is now in the French Natural History Museum (curators took advantage of its unusual rhombohedral faceted shape and asked for it to be exempted from the sale, falsely claiming that it was a natural, uncut crystal).


who is pablo picasso and what did he do

Pablo Picasso (/pɪˈkɑːsoʊ, -ˈkæsoʊ/;[2] Spanish: [ˈpaβlo piˈkaso]; 25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture,[3][4] the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces.

Pablo Picasso

Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the slightly older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art.[5][6][7][8]

Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.

Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the best-known figures in 20th-century art.

Picasso was baptized Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso,[1] a series of names honouring various saints and relatives.[9] Ruiz y Picasso were included for his father and mother, respectively, as per Spanish law. Born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco (1838–1913) and María Picasso y López.[10] His mother was of one quarter Italian descent, from the territory of Genoa.[11] Though baptized a Catholic, Picasso would later on become an atheist.[12] Picasso's family was of middle-class background. His father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts and a curator of a local museum. Ruiz's ancestors were minor aristocrats.

Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were "piz, piz", a shortening of lÃ¡piz, the Spanish word for "pencil".[13] From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was a traditional academic artist and instructor, who believed that proper training required disciplined copying of the masters, and drawing the human body from plaster casts and live models. His son became preoccupied with art to the detriment of his classwork.

The family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. They stayed almost four years. On one occasion, the father found his son painting over his unfinished sketch of a pigeon. Observing the precision of his son's technique, an apocryphal story relates, Ruiz felt that the thirteen-year-old Picasso had surpassed him, and vowed to give up painting,[14] though paintings by him exist from later years.

In 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of diphtheria.[15] After her death, the family moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home.[16] Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, and the jury admitted him, at just 13. The student lacked discipline but made friendships that would affect him in later life. His father rented a small room for him close to home so he could work alone, yet he checked up on him numerous times a day, judging his drawings. The two argued frequently.

Picasso's father and uncle decided to send the young artist to Madrid's Real Academia de Bellas Artes de San Fernando, the country's foremost art school.[16] At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrollment. Madrid held many other attractions. The Prado housed paintings by Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso's later work.

Picasso's training under his father began before 1890. His progress can be traced in the collection of early works now held by the Museu Picasso in Barcelona, which provides one of the most comprehensive records extant of any major artist's beginnings.[17] During 1893 the juvenile quality of his earliest work falls away, and by 1894 his career as a painter can be said to have begun.[18] The academic realism apparent in the works of the mid-1890s is well displayed in The First Communion (1896), a large composition that depicts his sister, Lola. In the same year, at the age of 14, he painted Portrait of Aunt Pepa, a vigorous and dramatic portrait that Juan-Eduardo Cirlot has called "without a doubt one of the greatest in the whole history of Spanish painting."[19]

In 1897, his realism began to show a Symbolist influence, for example, in a series of landscape paintings rendered in non-naturalistic violet and green tones. What some call his Modernist period (1899–1900) followed. His exposure to the work of Rossetti, Steinlen, Toulouse-Lautrec and Edvard Munch, combined with his admiration for favourite old masters such as El Greco, led Picasso to a personal version of modernism in his works of this period.[20]

Picasso made his first trip to Paris, then the art capital of Europe, in 1900. There, he met his first Parisian friend, journalist and poet Max Jacob, who helped Picasso learn the language and its literature. Soon they shared an apartment; Max slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation. Much of his work was burned to keep the small room warm. During the first five months of 1901, Picasso lived in Madrid, where he and his anarchist friend Francisco de AsÃs Soler founded the magazine Arte Joven (Young Art), which published five issues. Soler solicited articles and Picasso illustrated the journal, mostly contributing grim cartoons depicting and sympathizing with the state of the poor. The first issue was published on 31 March 1901, by which time the artist had started to sign his work Picasso; before he had signed Pablo Ruiz y Picasso.[21]

Picasso's Blue Period (1901–1904), characterized by sombre paintings rendered in shades of blue and blue-green, only occasionally warmed by other colours, began either in Spain in early 1901, or in Paris in the second half of the year.[22] Many paintings of gaunt mothers with children date from the Blue Period, during which Picasso divided his time between Barcelona and Paris. In his austere use of colour and sometimes doleful subject matter – prostitutes and beggars are frequent subjects – Picasso was influenced by a trip through Spain and by the suicide of his friend Carlos Casagemas. Starting in autumn of 1901 he painted several posthumous portraits of Casagemas, culminating in the gloomy allegorical painting La Vie (1903), now in the Cleveland Museum of Art.[23]

The same mood pervades the well-known etching The Frugal Repast (1904),[24] which depicts a blind man and a sighted woman, both emaciated, seated at a nearly bare table. Blindness is a recurrent theme in Picasso's works of this period, also represented in The Blindman's Meal (1903, the Metropolitan Museum of Art) and in the portrait of Celestina (1903). Other works include Portrait of Soler and Portrait of Suzanne Bloch.

The Rose Period (1904–1906)[25] is characterized by a lighter tone and style utilizing orange and pink colours, and featuring many circus people, acrobats and harlequins known in France as saltimbanques. The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso. Picasso met Fernande Olivier, a bohemian artist who became his mistress, in Paris in 1904.[15] Olivier appears in many of his Rose Period paintings, many of which are influenced by his warm relationship with her, in addition to his increased exposure to French painting. The generally upbeat and optimistic mood of paintings in this period is reminiscent of the 1899–1901 period (i.e. just prior to the Blue Period) and 1904 can be considered a transition year between the two periods.

By 1905, Picasso became a favourite of American art collectors Leo and Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein. Gertrude Stein became Picasso's principal patron, acquiring his drawings and paintings and exhibiting them in her informal Salon at her home in Paris.[27] At one of her gatherings in 1905, he met Henri Matisse, who was to become a lifelong friend and rival. The Steins introduced him to Claribel Cone and her sister Etta who were American art collectors; they also began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy. Michael and Sarah Stein became patrons of Matisse, while Gertrude Stein continued to collect Picasso.[28]

In 1907 Picasso joined an art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler. Kahnweiler was a German art historian and art collector who became one of the premier French art dealers of the 20th century. He was among the first champions of Pablo Picasso, Georges Braque and the Cubism that they jointly developed. Kahnweiler promoted burgeoning artists such as André Derain, Kees van Dongen, Fernand Léger, Juan Gris, Maurice de Vlaminck and several others who had come from all over the globe to live and work in Montparnasse at the time.[29]

Picasso's African-influenced Period (1907–1909) begins with his painting Les Demoiselles d'Avignon. Picasso painted this composition in a style inspired by Iberian sculpture, but repainted the faces of the two figures on the right after being powerfully impressed by African artefacts he saw in June 1907 in the ethnographic museum at Palais du Trocadéro.[30] When he displayed the painting to acquaintances in his studio later that year, the nearly universal reaction was shock and revulsion; Matisse angrily dismissed the work as a hoax.[31] Picasso did not exhibit Le Demoiselles publicly until 1916.

Other works from this period include Nude with Raised Arms (1907) and Three Women (1908). Formal ideas developed during this period lead directly into the Cubist period that follows.

Analytic cubism (1909â€“1912) is a style of painting Picasso developed with Georges Braque using monochrome brownish and neutral colours. Both artists took apart objects and "analyzed" them in terms of their shapes. Picasso and Braque's paintings at this time share many similarities.

Synthetic cubism (1912–1919) was a further development of the genre of cubism, in which cut paper fragments – often wallpaper or portions of newspaper pages – were pasted into compositions, marking the first use of collage in fine art. In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred Jarry, and Gertrude Stein. Apollinaire was arrested on suspicion of stealing the Mona Lisa from the Louvre in 1911. Apollinaire pointed to his friend Picasso, who was also brought in for questioning, but both were later exonerated.[32]

Between 1915 and 1917, Picasso began a series of paintings depicting highly geometric and minimalist Cubist objects, consisting of either a pipe, a guitar or a glass, with an occasional element of collage. "Hard-edged square-cut diamonds", notes art historian John Richardson, "these gems do not always have upside or downside".[33][34] "We need a new name to designate them," wrote Picasso to Gertrude Stein: Maurice Raynal suggested "Crystal Cubism".[33][35] These "little gems" may have been produced by Picasso in response to critics who had claimed his defection from the movement, through his experimentation with classicism within the so-called return to order following the war.[33][36]

After acquiring some fame and fortune, Picasso left Olivier for Marcelle Humbert, who he called Eva Gouel. Picasso included declarations of his love for Eva in many Cubist works. Picasso was devastated by her premature death from illness at the age of 30 in 1915.[37]

At the outbreak of World War I in August 1914, Picasso was living in Avignon. Braque and Derain were mobilized and Apollinaire joined the French artillery, while the Spaniard Juan Gris remained from the Cubist circle. During the war, Picasso was able to continue painting uninterrupted, unlike his French comrades. His paintings became more sombre and his life changed with dramatic consequences. Kahnweiler’s contract had terminated on his exile from France. At this point Picasso’s work would be taken on by the art dealer Léonce Rosenberg. After the loss of Eva Gouel, Picasso had an affair with Gaby Lespinasse. During the spring of 1916, Apollinaire returned from the front wounded. They renewed their friendship, but Picasso began to frequent new social circles.[38]

Towards the end of World War I, Picasso made a number of important relationships with figures associated with Serge Diaghilev's Ballets Russes. Among his friends during this period were Jean Cocteau, Jean Hugo, Juan Gris, and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev's troupe, for whom Picasso was designing a ballet, Erik Satie's Parade, in Rome; they spent their honeymoon near Biarritz in the villa of glamorous Chilean art patron Eugenia Errázuriz.

After returning from his honeymoon, and in desperate need of money, Picasso started his exclusive relationship with the French-Jewish art dealer Paul Rosenberg. As part of his first duties, Rosenberg agreed to rent the couple an apartment in Paris at his own expense, which was located next to his own house. This was the start of a deep brother-like friendship between two very different men, that would last until the outbreak of World War II.

Khokhlova introduced Picasso to high society, formal dinner parties, and all the social niceties attendant to the life of the rich in 1920s Paris. The two had a son, Paulo Picasso,[39] who would grow up to be a dissolute motorcycle racer and chauffeur to his father. Khokhlova's insistence on social propriety clashed with Picasso's bohemian tendencies and the two lived in a state of constant conflict. During the same period that Picasso collaborated with Diaghilev's troupe, he and Igor Stravinsky collaborated on Pulcinella in 1920. Picasso took the opportunity to make several drawings of the composer.

In 1927 Picasso met 17-year-old Marie-Thérèse Walter and began a secret affair with her. Picasso's marriage to Khokhlova soon ended in separation rather than divorce, as French law required an even division of property in the case of divorce, and Picasso did not want Khokhlova to have half his wealth. The two remained legally married until Khokhlova's death in 1955. Picasso carried on a long-standing affair with Marie-Thérèse Walter and fathered a daughter with her, named Maya. Marie-Thérèse lived in the vain hope that Picasso would one day marry her, and hanged herself four years after Picasso's death.

1909, Femme assise (Sitzende Frau), oil on canvas, 100 × 80 cm, Staatliche Museen, Neue Nationalgalerie, Berlin

1909–10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 × 73 cm, Tate Modern, London. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 × 60 cm, Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913

1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 × 73.6 cm, Museum of Modern Art, New York

1910, Portrait of Daniel-Henry Kahnweiler, The Art Institute of Chicago. Picasso wrote of Kahnweiler "What would have become of us if Kahnweiler hadn't had a business sense?"

1910â€“11, Guitariste, La mandoliniste (Woman playing guitar or mandolin), oil on canvas

c.1911, Le Guitariste. Reproduced in Albert Gleizes and Jean Metzinger, Du "Cubisme", 1912

1911, Still Life with a Bottle of Rum, oil on canvas, 61.3 × 50.5 cm, Metropolitan Museum of Art, New York

1911, The Poet (Le poète), oil on linen, 131.2 × 89.5 cm (51 5/8 × 35 1/4 in), The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice

1911–12, Violon (Violin), oil on canvas, 100 × 73 cm (oval), Kröller-Müller Museum, Otterlo, Netherlands. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

1913, Bouteille, clarinet, violon, journal, verre, 55 × 45 cm. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

1913, Femme assise dans un fauteuil (Eva), Woman in a Chemise in an Armchair, oil on canvas, 149.9 × 99.4 cm, Leonard A. Lauder Cubist Collection, Metropolitan Museum of Art

1913–14, Head (Tête), cut and pasted coloured paper, gouache and charcoal on paperboard, 43.5 × 33 cm, Scottish National Gallery of Modern Art, Edinburgh

1913–14, L'Homme aux cartes (Card Player), oil on canvas, 108 × 89.5 cm, Museum of Modern Art, New York

1914–15, Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 63.5 × 78.7 cm (25 × 31 in), Columbus Museum of Art, Ohio

1916, L'anis del mono (Bottle of Anis del Mono), oil on canvas, 46 × 54.6 cm, Detroit Institute of Arts, Michigan

In February 1917, Picasso made his first trip to Italy.[40] In the period following the upheaval of World War I, Picasso produced work in a neoclassical style. This "return to order" is evident in the work of many European artists in the 1920s, including André Derain, Giorgio de Chirico, Gino Severini, Jean Metzinger, the artists of the New Objectivity movement and of the Novecento Italiano movement. Picasso's paintings and drawings from this period frequently recall the work of Raphael and Ingres.

In 1925 the Surrealist writer and poet André Breton declared Picasso as 'one of ours' in his article Le Surréalisme et la peinture, published in Révolution surréaliste. Les Demoiselles was reproduced for the first time in Europe in the same issue. Yet Picasso exhibited Cubist works at the first Surrealist group exhibition in 1925; the concept of 'psychic automatism in its pure state' defined in the Manifeste du surréalisme never appealed to him entirely. He did at the time develop new imagery and formal syntax for expressing himself emotionally, "releasing the violence, the psychic fears and the eroticism that had been largely contained or sublimated since 1909", writes art historian Melissa McQuillan.[41] Although this transition in Picasso's work was informed by Cubism for its spatial relations, "the fusion of ritual and abandon in the imagery recalls the primitivism of the Demoiselles and the elusive psychological resonances of his Symbolist work", writes McQuillan.[41] Surrealism revived Picasso’s attraction to primitivism and eroticism.[41]

During the 1930s, the minotaur replaced the harlequin as a common motif in his work. His use of the minotaur came partly from his contact with the surrealists, who often used it as their symbol, and it appears in Picasso's Guernica. The minotaur and Picasso's mistress Marie-Thérèse Walter are heavily featured in his celebrated Vollard Suite of etchings.[42]

Arguably Picasso's most famous work is his depiction of the German bombing of Guernica during the Spanish Civil War â€“ Guernica. This large canvas embodies for many the inhumanity, brutality and hopelessness of war. Asked to explain its symbolism, Picasso said, "It isn't up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words! The public who look at the picture must interpret the symbols as they understand them."[43][44] Guernica was exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, and then became the centerpiece of an exhibition of 118 works by Picasso, Matisse, Braque and Henri Laurens that toured Scandinavia and England. After the victory of Francisco Franco in Spain, the painting was sent to the United States to raise funds and support for Spanish refugees. Until 1981 it was entrusted to the Museum of Modern Art (MoMA) in New York City, as it was Picasso's expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country.

In 1939â€“40 the Museum of Modern Art in New York City, under its director Alfred Barr, a Picasso enthusiast, held a major retrospective of Picasso's principal works until that time. This exhibition lionized the artist, brought into full public view in America the scope of his artistry, and resulted in a reinterpretation of his work by contemporary art historians and scholars.[45] According to Jonathan Weinberg, "Given the extraordinary quality of the show and Picasso's enormous prestige, generally heightened by the political impact of Guernica... the critics were surprisingly ambivalent".[46] Picasso's "multiplicity of styles" was disturbing to one journalist, another described the artist as "wayward and even malicious"; Alfred Frankenstein's review in ARTnews concluded that Picasso was both charlatan and genius.[46]

During the Second World War, Picasso remained in Paris while the Germans occupied the city. Picasso's artistic style did not fit the Nazi ideal of art, so he did not exhibit during this time. He was often harassed by the Gestapo. During one search of his apartment, an officer saw a photograph of the painting Guernica. "Did you do that?" the German asked Picasso. "No," he replied, "You did".[47]

Retreating to his studio, he continued to paint, producing works such as the Still Life with Guitar (1942) and The Charnel House (1944â€“48).[48] Although the Germans outlawed bronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by the French Resistance.[49]

Around this time, Picasso took up writing as an alternative outlet. Between 1935 and 1959 he wrote over 300 poems. Largely untitled except for a date and sometimes the location of where it was written (for example "Paris 16 May 1936"), these works were gustatory, erotic and at times scatological, as were his two full-length plays Desire Caught by the Tail (1941) and The Four Little Girls (1949).[51][52]

In 1944, after the liberation of Paris, Picasso, then 63 years old, began a romantic relationship with a young art student named Françoise Gilot. She was 40 years younger than he was. Picasso grew tired of his mistress Dora Maar; Picasso and Gilot began to live together. Eventually they had two children: Claude, born in 1947 and Paloma, born in 1949. In her 1964 book Life with Picasso,[53] Gilot describes his abusive treatment and myriad infidelities which led her to leave him, taking the children with her. This was a severe blow to Picasso.

Picasso had affairs with women of an even greater age disparity than his and Gilot's. While still involved with Gilot, in 1951 Picasso had a six-week affair with Geneviève Laporte, who was four years younger than Gilot. By his 70s, many paintings, ink drawings and prints have as their theme an old, grotesque dwarf as the doting lover of a beautiful young model. Jacqueline Roque (1927–1986) worked at the Madoura Pottery in Vallauris on the French Riviera, where Picasso made and painted ceramics. She became his lover, and then his second wife in 1961. The two were together for the remainder of Picasso's life.

His marriage to Roque was also a means of revenge against Gilot; with Picasso's encouragement, Gilot had divorced her then husband, Luc Simon, with the plan to marry Picasso to secure the rights of her children as Picasso's legitimate heirs. Picasso had already secretly married Roque, after Gilot had filed for divorce. His strained relationship with Claude and Paloma was never healed.[54]

By this time, Picasso had constructed a huge Gothic home, and could afford large villas in the south of France, such as Mas Notre-Dame-de-Vie on the outskirts of Mougins, and in the Provence-Alpes-Côte d'Azur. He was an international celebrity, with often as much interest in his personal life as his art.[55]

Picasso was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in mid-1949. In the 1950s, Picasso's style changed once again, as he took to producing reinterpretations of the art of the great masters. He made a series of works based on Velázquez's painting of Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix.

In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in Jean Cocteau's Testament of Orpheus (1960). In 1955 he helped make the film Le MystÃ¨re Picasso (The Mystery of Picasso) directed by Henri-Georges Clouzot.

He was commissioned to make a maquette for a huge 50-foot (15Â m)-high public sculpture to be built in Chicago, known usually as the Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. What the figure represents is not known; it could be a bird, a horse, a woman or a totally abstract shape. The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the people of the city.

Picasso's final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colourful and expressive, and from 1968 to 1971 he produced a torrent of paintings and hundreds of copperplate etchings. At the time these works were dismissed by most as pornographic fantasies of an impotent old man or the slapdash works of an artist who was past his prime.[56][57] Only later, after Picasso's death, when the rest of the art world had moved on from abstract expressionism, did the critical community come to see the late works of Picasso as prefiguring Neo-Expressionism.[58]

Pablo Picasso died on 8 April 1973 in Mougins, France from pulmonary edema and heart failure, while he and his wife Jacqueline entertained friends for dinner. He was interred at the Château of Vauvenargues near Aix-en-Provence, a property he had acquired in 1958 and occupied with Jacqueline between 1959 and 1962. Jacqueline Roque prevented his children Claude and Paloma from attending the funeral.[59] Devastated and lonely after the death of Picasso, Jacqueline Roque killed herself by gunshot in 1986 when she was 59 years old.[60]

Picasso remained aloof from the Catalan independence movement during his youth despite expressing general support and being friendly with activists within it. He did not join the armed forces for any side or country during World War I, the Spanish Civil War, and World War II. As a Spanish citizen living in France, Picasso was under no compulsion to fight against the invading Germans in either world war. However, in 1940 he did apply for French citizenship, but it was refused on the grounds of his "extremist ideas evolving towards communism". This information was not revealed until 2003.[61]

At the start of the Spanish Civil War in 1936, Picasso was 54 years of age. Soon after hostilities began, the Republicans appointed him "director of the Prado, albeit in absentia", and "he took his duties very seriously", according to John Richardson, supplying the funds to evacuate the museum's collection to Geneva.[62] The war provided the impetus for Picasso's first overtly political work. He expressed anger and condemnation of Francisco Franco and fascists in The Dream and Lie of Franco (1937), which was produced "specifically for propagandistic and fundraising purposes".[63] This surreal fusion of words and images was intended to be sold as a series of postcards to raise funds for the Spanish Republican cause.[63][64]

In 1944 Picasso joined the French Communist Party, attended an international peace conference in Poland, and in 1950 received the Stalin Peace Prize from the Soviet government.[65] Party criticism in 1953 of his portrait of Stalin as insufficiently realistic cooled Picasso's interest in Soviet politics, though he remained a loyal member of the Communist Party until his death.[62] His dealer, D-H. Kahnweiler, a socialist, termed Picasso's communism "sentimental" rather than political, saying "He has never read a line of Karl Marx, nor of Engels of course."[62] In a 1945 interview with Jerome Seckler, Picasso stated: "I am a Communist and my painting is Communist painting.... But if I were a shoemaker, Royalist or Communist or anything else, I would not necessarily hammer my shoes in a special way to show my politics."[66] His commitment to communism, common among continental intellectuals and artists at the time, has long been the subject of some controversy; a notable demonstration thereof was a quote commonly attributed to Salvador Dalí (with whom Picasso had a rather strained relationship[67]):

In the late 1940s his old friend the surrealist poet and Trotskyist[71] and anti-Stalinist André Breton was more blunt; refusing to shake hands with Picasso, he told him: "I don't approve of your joining the Communist Party nor with the stand you have taken concerning the purges of the intellectuals after the Liberation".[72]

Picasso was against the intervention of the United Nations and the United States in the Korean War and he depicted it in Massacre in Korea.[73][74] The art critic Kirsten Hoving Keen says that it is "inspired by reports of American atrocities" and considers it one of Picasso's communist works.[75]

In 1962, he received the Lenin Peace Prize.[76] Biographer and art critic John Berger felt his talents as an artist were "wasted" by the communists.[77] According to Jean Cocteau's diaries, Picasso once said to him in reference to the communists: "I have joined a family, and like all families, it's full of shit".[78]

Picasso was exceptionally prolific throughout his long lifetime. The total number of artworks he produced has been estimated at 50,000, comprising 1,885 paintings; 1,228 sculptures; 2,880 ceramics, roughly 12,000 drawings, many thousands of prints, and numerous tapestries and rugs.[79]

The medium in which Picasso made his most important contribution was painting.[80] In his paintings, Picasso used colour as an expressive element, but relied on drawing rather than subtleties of colour to create form and space.[80] He sometimes added sand to his paint to vary its texture. A nanoprobe of Picasso's The Red Armchair (1931) by physicists at Argonne National Laboratory in 2012 confirmed art historians' belief that Picasso used common house paint in many of his paintings.[81] Much of his painting was done at night by artificial light.

Picasso's early sculptures were carved from wood or modelled in wax or clay, but from 1909 to 1928 Picasso abandoned modelling and instead made sculptural constructions using diverse materials.[80] An example is Guitar (1912), a relief construction made of sheet metal and wire that Jane Fluegel terms a "three-dimensional planar counterpart of Cubist painting" that marks a "revolutionary departure from the traditional approaches, modeling and carving".[82]

From the beginning of his career, Picasso displayed an interest in subject matter of every kind,[83] and demonstrated a great stylistic versatility that enabled him to work in several styles at once. For example, his paintings of 1917 included the pointillist Woman with a Mantilla, the Cubist Figure in an Armchair, and the naturalistic Harlequin (all in the Museu Picasso, Barcelona). In 1919, he made a number of drawings from postcards and photographs that reflect his interest in the stylistic conventions and static character of posed photographs.[84] In 1921 he simultaneously painted several large neoclassical paintings and two versions of the Cubist composition Three Musicians (Museum of Modern Art, New York; Philadelphia Museum of Art).[40] In an interview published in 1923, Picasso said, "The several manners I have used in my art must not be considered as an evolution, or as steps towards an unknown ideal of painting... If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them."[40]

Although his Cubist works approach abstraction, Picasso never relinquished the objects of the real world as subject matter. Prominent in his Cubist paintings are forms easily recognized as guitars, violins, and bottles.[85] When Picasso depicted complex narrative scenes it was usually in prints, drawings, and small-scale works; Guernica (1937) is one of his few large narrative paintings.[84]

Picasso painted mostly from imagination or memory. According to William Rubin, Picasso "could only make great art from subjects that truly involved him... Unlike Matisse, Picasso had eschewed models virtually all his mature life, preferring to paint individuals whose lives had both impinged on, and had real significance for, his own."[86] The art critic Arthur Danto said Picasso's work constitutes a "vast pictorial autobiography" that provides some basis for the popular conception that "Picasso invented a new style each time he fell in love with a new woman".[86] The autobiographical nature of Picasso's art is reinforced by his habit of dating his works, often to the day. He explained: "I want to leave to posterity a documentation that will be as complete as possible. That's why I put a date on everything I do."[86]

Picasso's influence was and remains immense and widely acknowledged by his admirers and detractors alike. On the occasion of his 1939 retrospective at MoMA, Life magazine wrote: "During the 25 years he has dominated modern European art, his enemies say he has been a corrupting influence. With equal violence, his friends say he is the greatest artist alive."[87] In 1998, Robert Hughes wrote of him: "To say that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace.... No painter or sculptor, not even Michelangelo, had been as famous as this in his own lifetime.... Though Marcel Duchamp, that cunning old fox of conceptual irony, has certainly had more influence on nominally vanguard art over the past 30 years than Picasso, the Spaniard was the last great beneficiary of the belief that the language of painting and sculpture really mattered to people other than their devotees."[88]

At the time of Picasso's death many of his paintings were in his possession, as he had kept off the art market what he did not need to sell. In addition, Picasso had a considerable collection of the work of other famous artists, some his contemporaries, such as Henri Matisse, with whom he had exchanged works. Since Picasso left no will, his death duties (estate tax) to the French state were paid in the form of his works and others from his collection. These works form the core of the immense and representative collection of the Musée Picasso in Paris. In 2003, relatives of Picasso inaugurated a museum dedicated to him in his birthplace, Málaga, Spain, the Museo Picasso Málaga.

The Museu Picasso in Barcelona features many of his early works, created while he was living in Spain, including many rarely seen works which reveal his firm grounding in classical techniques. The museum also holds many precise and detailed figure studies done in his youth under his father's tutelage, as well as the extensive collection of Jaime SabartÃ©s, his close friend and personal secretary.

Guernica was on display in New York's Museum of Modern Art for many years. In 1981, it was returned to Spain and was on exhibit at the Casón del Buen Retiro. In 1992 the painting was put on display in Madrid's Reina Sofía Museum when it opened.

In the 1996 movie Surviving Picasso, Picasso is portrayed by actor Anthony Hopkins.[89] Picasso is also a character in Steve Martin's 1993 play, Picasso at the Lapin Agile. In A Moveable Feast by Ernest Hemingway, Hemingway tells Gertrude Stein that he would like to have some Picassos, but cannot afford them. Later in the book, Hemingway mentions looking at one of Picasso's paintings. He refers to it as Picasso's nude of the girl with the basket of flowers, possibly related to "Young Naked Girl with Flower Basket".

On 8 October 2010, Picasso: Masterpieces from the Musée National Picasso, Paris, an exhibition of 150 paintings, sculptures, drawings, prints and photographs from the Musée National Picasso in Paris, opened at the Seattle Art Museum, Seattle, Washington, US. The exhibition subsequently travelled to Virginia Museum of Fine Arts, Richmond, Virginia, US.; the M. H. de Young Memorial Museum, San Francisco, California, US.;[90] the Art Gallery of New South Wales, Sydney, Australia;[91] and the Art Gallery of Ontario, Toronto, Ontario, Canada.

As of 2015[update], Picasso remained the top-ranked artist (based on sales of his works at auctions) according to the Art Market Trends report.[92] More of his paintings have been stolen than any other artist's;[93] in 2012, the Art Loss Register had 1,147 of his works listed as stolen.[94] The Picasso Administration functions as his official Estate. The US copyright representative for the Picasso Administration is the Artists Rights Society.[95]

Several paintings by Picasso rank among the most expensive paintings in the world. Garçon à la pipe sold for US$104 million at Sotheby's on 4 May 2004, establishing a new price record. Dora Maar au Chat sold for US$95.2 million at Sotheby's on 3 May 2006.[96] On 4 May 2010, Nude, Green Leaves and Bust was sold at Christie's for $106.5 million. The 1932 work, which depicts Picasso's mistress Marie-Thérèse Walter reclining and as a bust, was in the personal collection of Los Angeles philanthropist Frances Lasker Brody, who died in November 2009.[97] On 11 May 2015 his painting Women of Algiers set the record for the highest price ever paid for a painting when it sold for US$179.3 million at Christie's in New York.[98]

On 21 June 2016, a painting by Pablo Picasso titled Femme Assise (1909) sold for Â£43.2 million ($63.4 million) at Sotheby's London, exceeding the estimate by nearly $20 million, setting a world record for the highest price ever paid at auction for a Cubist work.[99][100]

On 17 May 2017, The Jerusalem Post in an article titled "Picasso Work Stolen By Nazi's Sells for $45 Million at Auction" reported the sale of a portrait painted by Picasso, the 1939 Femme assise, robe bleu, which was previously misappropriated during the early years of WWII. The painting has changed hands several times since its recovery, most recently through auction in May 2017 at Christie's in New York City.[101]

Throughout his life Picasso maintained several mistresses in addition to his wife or primary partner. Picasso was married twice and had four children by three women:

Photographer and painter Dora Maar was also a constant companion and lover of Picasso. The two were closest in the late 1930s and early 1940s, and it was Maar who documented the painting of Guernica.