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Later on, from the s onwards, Richardson coincided with Picasso when they were both living in the south of France and remained close to him for years. The first two volumes have been translated into Spanish and all of them are accompanied by numerous illustrations of works, people and places.

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Drypoint on copperplate, printed on paper, Date don plate in reverse lower left: Boisgeloup. Gift of Bernard Ruiz-Picasso. Volume 4 examines the decade from to , a period full of tensions, crises and aesthetic discoveries for the artist. The title chosen by Richardson refers to the prints depicting the human and animal figure which Picasso borrowed from Greek mythology for his iconographic repertoire and translated visually into an embodiment of desire, an expression of aggression or guilt, joyfully humanised or with the violence of a menacing animal.

Most biographers usually date this new awareness to the bombing of Guernica in , but Richardson proposes an alternative interpretation of the events, establishing his drawing The Death of Marat of — a free allusion to the exceptional painting by the French painter Jacques-Louis David — as a unique precedent for the repertoire surrounding Guernica.

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Illustrated book published as a folder : etching and sugar-lift aquatint on copperplate, printed on paper, Dated on the plate, upper centre, reversed: 8 janvier Acquisition This fourth and last volume ends here, in There will be no fifth volume as John Richardson died on 12 March at the age of His research assistants and editor, who completed the volume, made it possible to bring out the book.

Never again will an author be able to combine personal familiarity with the artist with such a wealth of historical fact, perspicacity, hearsay, detail and thoroughness. Although incomplete, it is a unique biography of unquestionable value.