section_path: Career/Later works to final years: 1949–1973
section_name: Later works to final years: 1949–1973
paragraph_text: Later works to final years: 1949–1973
  
  Picasso was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in mid-1949. In the 1950s, Picasso's style changed once again, as he took to producing reinterpretations of the art of the great masters. He made a series of works based on Velázquez 's painting of Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix.
  
  In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in Jean Cocteau 's Testament of Orpheus (1960). In 1955, he helped make the film Le Mystère Picasso (The Mystery of Picasso) directed by Henri-Georges Clouzot.
  
  He was commissioned to make a maquette for a huge 50-foot (15 m) -high public sculpture to be built in Chicago, known usually as the Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. Picasso said the figure represented the head of an Afghan Hound named Kabul. The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the people of the city.
  
  Picasso's final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colourful and expressive, and from 1968 to 1971 he produced a torrent of paintings and hundreds of copperplate etchings. At the time these works were dismissed by most as pornographic fantasies of an impotent old man or the slapdash works of an artist who was past his prime. Only later, after Picasso's death, when the rest of the art world had moved on from abstract expressionism, did the critical community come to see the late works of Picasso as prefiguring Neo-Expressionism.