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All of these examples demonstrate that Picasso did not feel comfortable working only from his imagination. He was most at ease working with images suggested to him which he could alter through the magic of metamorphosis. He could find his subjects anywhere. According to Francoise Gilot, Picasso often said "When there's anything to steal, I steal" (Picasso qtd. in Gilot 292).

Furthermore, the first issue of "Minotaure" was also illustrated with a series of Picasso drawings inspired by the central panel of Grunewald's Isenheim Altarpiece representing the Crucifixion. Picasso had already treated this theme in a painting of 1930 and reverted to it in 1932. Picasso said to his friend Brassai, the photographer “I love that painting, and I tried to interpret it. But as soon as I began to draw it became something else entirely.” Brassi commented “I mention this series for a specific purpose, since it was the first time, to my knowledge, that a great painting had touched off the creative spark in him and he had concentrated his energies on a masterpiece, in order to extort its secret” (Brassai qtd. in Leymarie 246).

Like Picasso's friend Brassai, persons commenting on Picasso's work have not fully realized the extent of his relationship with art history. All report the obvious influences of his formative years. Some mention his reworking of Le Nain's "The Peasants' Repast" in 1917-18 as an early example. Others refer to the obvious named paraphrasing of the work of Manet, Courbet, Poussin and El Greco of the late 1940's and 1950's. Some state that after 1961 Picasso rarely stretched out to the work of other artists. However, describing a work in progress during the early 1960's Picasso said “That's not Delacroix at all. It's wavering between Poussin and David. But it hasn't any connection. Perhaps it's the Sabine women...” (Picasso qtd. in Parmelin 52).

He then asked for reproductions of Poussin and of the Sabine women to be sent to him.

The works presented in this series demonstrate that Picasso continually depended on the masters. From his "formative years" right up to the last works of his career this was his method. This relationship was more than mere copying. It played a significant role in the development of twentieth century art. Picasso's reputation as the great revolutionary of art creating new styles as a solitary genius must be re-evaluated. He did not do it alone. He had the entire tradition of art history to assist him and his work is a continuation and reflection of all the cultures that preceded him.

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