For Pablo Picasso, sculpture has always been a kind of three-dimensional doodling, a device to work out ideas he intends to enshrine in oil. He keeps his numerous constructions of found objects, sheet-metal cutouts, bronzes and wooden figures at his home near Cannes. Occasionally, his black eyes dancing, he will show off his motley assembly of talismans, to test the mettle of his visitors. But he rarely sells them—at most one piece in ten.
It was only when the French government staged its mammoth 1966 Paris retrospective in honor of his 85th birthday (TIME Dec. 2), that Picasso agreed to...
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