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The sheet records dimensions, edition context (edition of 15, third state, fifth impression), and inscription and numbering in pencil, along with printer information and catalogue references. It also summarizes provenance and exhibition history, linking the work to Dora Maar, Marie-Thérèse Walter, and the surrounding war-year themes in Picasso’s art.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/la-femme-qui-pleure-i-1937-fact-sheet/139696/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/la-femme-qui-pleure-i-1937-fact-sheet/139696.png","ImageObject",300,407,{"name":92,"@type":93},"Connor ","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-09-20","2026-08-24",true,{"@type":102,"interactionType":103,"userInteractionCount":24},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What medium and paper were used for “La Femme qui pleure I” (1937)?","Question",{"text":112,"@type":113},"The print uses drypoint, aquatint, etching, and scraper work, printed on Montval laid paper.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What edition and state information is provided for this impression?",{"text":117,"@type":113},"It is from an edition of 15, in the third state, and described as the fifth in that edition/state.",{"name":119,"@type":110,"acceptedAnswer":120},"How does the fact sheet connect the work to Dora Maar and the themes in Picasso’s practice?",{"text":121,"@type":113},"The image is described as portraying Dora Maar in grief, and the notes frame it as a continuation of Picasso’s exploration of human suffering, developed alongside the broader context of the war years and Guernica.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},139696,1787560996,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":24,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":81,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":129,"read_time":39},687207022233,"https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d","PABLO PICASSO  \n(1881-1973)  \nLa Femme quipleure I, 1937  \n(July 1, Paris)  \ndrypoint, aquatint, etching and scraper printed on Montval laid paper  \n27 1/8 x 19 1/2 inches (image)  \n29 1/2 x 21 3/4 inches (sheet)  \nFrom the Edition of 15 , of the third state  \nSigned, dated, and dedicated in pencil, lower right“Para mi amigo Larrea. Hoy 16 septiembre del 1938 ”Numbered in pencil lower left “5/15”  \nPrinted by Lacourière  \n(Bloch 1333) (Baer 623.III.b)  \nProvenance  \nThe Artist  \nJuan Larrea (author of Guernica, published by Curt Valentin, 1947) Estudio Actuel, Caracas, Venezuela  \nGalerie Beyeler, Basel, Switzerland Frederick Mulder Fine Art, London, England Private Collection, New York, New York  \nThis Impression Exhibited  \nPicasso and the Weeping Women: The Years of Marie-Thérèse Walter & Dora Maar, Los Angeles County Museum of Fine Art, CA, February 13 – May 1, 1994; traveled to The Metropolitan Museum of Art, NY, June 12 – September 4, 1994; Art Institute of Chicago, October 8, 1994 – January 8, 1995  \nPicasso The Engraver: Selections from The Musée Picasso, Paris, The Metropolitan Museum of Art, NY, September 18 – December 21, 1997  \nPicasso and the War Years: 1937-1945, Fine Arts Museums of San Francisco, California Legion of Honor, CA, October 10, 1998 – January 3, 1999; traveled to Solomon R. Guggenheim Museum, NY, February 5 – April 26, 1999  \nSelected Literature  \nBloch, Georges. Pablo Picasso: Volume I, Catalogue of the Printed Graphic Work 1904-1967, Berne: Editions Kornfeld and Klipstein, 1971, no. 1333, p. 288, Illustrated.  \nBaer, Brigitte. Picasso, Peintre-Graveur Tome III: Catalogue Raisonné de L'oeuvre Gravé et des Monotypes, 1935-1945, Berne: Editions Kornfeld, 1986, no. 623, pp. 118- 124, Illustrated.  \nUllmann, Ludwig. Picasso und der Krieg, Bielefeld: Kerber Verlag, 1993, fig. 155 , Illustrated.  \nFreeman, Judi. Picasso and the Weeping Women: The Years of Marie-Thérèse Walter Walter & Dora Maar, Los Angeles: Los Angeles County Museum of Fine Art/Rizzoli, 1994, no. 59, pp. 94 , Illustrated.  \nBaer, Brigitte. Picasso The Engraver: Selections from The Musée Picasso, Paris, New York: The Metropolitan Museum of Art/Thames and Hudson, 1997, no. 71, p. 88.  \nNash, Steven A. , Robert Rosenblum, Brigitte Baer. Picasso and the War Years: 1937-1945, New York: Fine Arts Museums of San Francisco/Thames and Hudson, 1998, no. 8, p. 130.  \nWye, Deborah. A Picasso Portfolio: Prints from the Museum of Modern Art, New York: Museum of Modern Art, 2010, no. 100, p. 131, Illustrated.  \nPalau i Fabre, Josep and Julià Guillamon. Picasso: From the Minotaur to Guernica (1927- 1939), Barcelona: Ediciones Polígrafa, 2011, no. 1012-1018 , pp. 332-333, Illustrated.  \nNote  \nWhen the politically engaged Maar met Picasso, her left-wing views made a significant impact on him as an individual and as a painter. Increasingly sharing her sympathies, and following in the creative footsteps of Maar, Picasso became absorbed with the theme of human suffering in his work. While living in Paris, in January 1937 Pablo Picasso was commissioned by the Spanish Republican government to create a large mural for the Spanish Pavillion at the 1937 Paris World’s Fair. Immediately upon hearing reports of the April 26th bombing of Guernica, poet Juan Larrea visited Picasso’s home to urge him to make the bombing his subject. Picasso acted on Larrea’s suggestion and began work on what was to be arguably the greatest protest painting of all time, Guernica.  \nDora Maar found Picasso a studio large enough for him to paint the mural-sized work and Picasso allowed Maar to witness him painting Guernica over 36 days. While Picasso worked, she photographed him. Picasso became her subject and together with the skills he had mastered in his printmaking, an omnipresent part of his creative output throughout his career, and the influence of Maar’s black and white photography, Guernica was executed in a monochromatic palette of black, white and gray.  \nShortly after com","cbCaitMHpwAzEFIC","https://ap.wps.com/l/cbCaitMHpwAzEFIC","pdf",174833,"English","# Artwork identification\n## Artist, date, medium, and dimensions\n## Edition, state, inscriptions, and catalogue references\n# Provenance and exhibitions\n## Ownership history\n## Display history\n# Context and interpretation\n## Link to Marie-Thérèse Walter and Dora Maar\n## Human suffering theme and Guernica background\n# Selected literature","[{\"question\":\"What medium and paper were used for “La Femme qui pleure I” (1937)?\",\"answer\":\"The print uses drypoint, aquatint, etching, and scraper work, printed on Montval laid paper.\"},{\"question\":\"What edition and state information is provided for this impression?\",\"answer\":\"It is from an edition of 15, in the third state, and described as the fifth in that edition/state.\"},{\"question\":\"How does the fact sheet connect the work to Dora Maar and the themes in Picasso’s practice?\",\"answer\":\"The image is described as portraying Dora Maar in grief, and the notes frame it as a continuation of Picasso’s exploration of human suffering, developed alongside the broader context of the war years and Guernica.\"}]","La Femme qui pleure I - 1937 - fact sheet | PDF"]