Pablo Picasso's artistic output is astonishing in its ambition and variety. This handsome publication examines a particular aspect of his legendary capacity for invention: his imaginative and original use of paper. He used it as a support for autonomous works, including etchings, prints and drawings, as well as for his papier-colle experiments of the 1910s and his revolutionary three-dimensional 'constructions', made of cardboard, paper and string. Sometimes, his use of paper was simply determined by circumstance: in occupied Paris, where art supplies were hard to come by, he ripped up paper tablecloths to make works of art. And, of course, his works on paper comprise the preparatory stages of some of his very greatest paintings, among them Les Demoiselles d'Avignon (1907) and Guernica (1937). With reproductions of more than 300 works of art and additional texts by Violette Andres, Stephen Coppel, Emmanuelle Hincelin, Christopher Lloyd, Johan Popelard and Claustre Rafart Planas, this sumptuous study reveals the myriad ways in which Picasso's genius seized the potential of paper at different stages throughout his career.

Borrowing its title from the French national motto, "Liberty, Equality, and Fraternity" provides a vibrant picture of design in France from the 1940s to today. A catalogue for a 2011 exhibition presented by The Wolfsonian-Florida International University in collaboration with M/M and Alexandra Midal, it investigates how objects embody the ideas that have defined French public life for more than two centuries. Featured objects include furniture, industrial design and craft by some of the most celebrated French designers of the present and recent past, including Roger Tallon, Pierre Paulin, Philippe Starck and the Bouroullec Brothers. "Liberty, Equality, and Fraternity" includes essays by Marianne Lamonaca, Emilia Philippot and Alexandra Midal, each providing a framework for understanding French design and its relationship to national identity. A visual essay, organized in nine thematic clusters, offers color images of each object in the exhibition.

Picasso began to spend his summer holidays in Antibes Juan-les-Pins in 1920, returning most summers to the Cote d'Azur until the outbreak of war. During those years, he produced paintings and drawings of the villas where he stayed with his family, as well as of bathers on the beach, and many studies for paintings that were ultimately realized in his studio back in Paris. He returned again after the war and showed his affinity for the region in compositions that reflect its classical and mythological past. M. Pablo's Holidays accompanies an exhibition of the same name at the Musee Picasso in Antibes, and is composed of seven essays by authoritative writers on the artist. The essays are enhanced by six thematic sections that present the exhibited works. Distributed for Editions Hazan, Paris Exhibition Schedule: Musee Picasso, Antibes (09/28/18-01/15/19)