section_path: Style and technique
section_name: Style and technique
paragraph_text: Style and technique
  
  Picasso was exceptionally prolific throughout his long lifetime. At his death there were more than 45,000 unsold works in his estate, comprising 1,885 paintings, 1,228 sculptures, 3,222 ceramics, 7,089 drawings, 150 sketchbooks, many thousands of prints, and numerous tapestries and rugs. The most complete – but not exhaustive – catalogue of his works, the catalogue raisonné compiled by Christian Zervos, lists more than 16,000 paintings and drawings. Picasso's output was several times more prolific than most artists of his era; by at least one account, American artist Bob Ross is the only one to rival Picasso's volume, and Ross's artwork was designed specifically to be easily mass-produced quickly.
  
  The medium in which Picasso made his most important contribution was painting. In his paintings, Picasso used colour as an expressive element, but relied on drawing rather than subtleties of colour to create form and space. He sometimes added sand to his paint to vary its texture. A nanoprobe of Picasso's The Red Armchair (1931), in the collection of the Art Institute of Chicago, by physicists at Argonne National Laboratory in 2012 confirmed art historians' belief that Picasso used common house paint in many of his paintings. Much of his painting was done at night by artificial light.
  
  Picasso's early sculptures were carved from wood or modelled in wax or clay, but from 1909 to 1928 Picasso abandoned modelling and instead made sculptural constructions using diverse materials. An example is Guitar (1912), a relief construction made of sheet metal and wire that Jane Fluegel terms a "three-dimensional planar counterpart of Cubist painting" that marks a "revolutionary departure from the traditional approaches, modeling and carving".
  
  From the beginning of his career, Picasso displayed an interest in subject matter of every kind, and demonstrated a great stylistic versatility that enabled him to work in several styles at once. For example, his paintings of 1917 included the pointillist Woman with a Mantilla, the Cubist Figure in an Armchair, and the naturalistic Harlequin (all in the Museu Picasso, Barcelona). In 1919, he made a number of drawings from postcards and photographs that reflect his interest in the stylistic conventions and static character of posed photographs. In 1921 he simultaneously painted several large neoclassical paintings and two versions of the Cubist composition Three Musicians (Museum of Modern Art, New York; Philadelphia Museum of Art). In an interview published in 1923, Picasso said, "The several manners I have used in my art must not be considered as an evolution, or as steps towards an unknown ideal of painting... If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them."
  
  Although his Cubist works approach abstraction, Picasso never relinquished the objects of the real world as subject matter. Prominent in his Cubist paintings are forms easily recognized as guitars, violins, and bottles. When Picasso depicted complex narrative scenes it was usually in prints, drawings, and small-scale works; Guernica (1937) is one of his few large narrative paintings.
  
  Picasso painted mostly from imagination or memory. According to William Rubin, Picasso "could only make great art from subjects that truly involved him... Unlike Matisse, Picasso had eschewed models virtually all his mature life, preferring to paint individuals whose lives had both impinged on, and had real significance for, his own." The art critic Arthur Danto said Picasso's work constitutes a "vast pictorial autobiography" that provides some basis for the popular conception that "Picasso invented a new style each time he fell in love with a new woman". The autobiographical nature of Picasso's art is reinforced by his habit of dating his works, often to the day. He explained: "I want to leave to posterity a documentation that will be as complete as possible. That's why I put a date on everything I do."