anne umland: i think that comes through in the show.ou just go from gallery to any newand each time set of materials, a new subject matter, a new way of making. hard to believe that in some cases comes from one artist. there is that much range. charlie: someone writing in the times said that the exhibition raises the question of whether also was a better sculptor or painter. we have already touched on that. great at each. there are just so many people who know so little about him as a school term. anne umland: an important point was he was trained as a painter. with new school for years to learn to paint. his father was a painter. he had no schooling in culture, no training whatsoever. when he approached it right from the start it was as a self-taught artist borrowing materials, using friends studios and equipment, and he kept that spirit his whole life. there was nothing to unlearn. the freedom which came to him came. toreas he sent his paintings shows, he did not have that with sculpture. anne umland: you can see a , astant back-and-f

anne umland: you can see a constant back-and-forth, a dialogue between the pictorial and sculpture. a dialogue? anne: yeah, picasso would never want to stay in one category or other, so you see him applying paint to his sculptures from day one. and some of the same subjects and motifs are there in the sculptures. i don't think he ever worked from his sculptures, like you would for a model, but i think there is certainly an interchange between the two. charlie: how did his sculptures influence others who followed him? >> if you look through this exhibition, even watching visitors in the show, people will be dropping names. different moments -- charlie: they can see the influence? ann: yes. charlie: does his early work have some relationship to greek sculpture? ann: not his early work, that is something he came to later in life. from his very earliest moment when he was painting what we think of as the chapters of the blue period, he was looking at the most famous sculptor of that moment in paris. didn't take about classicism until a few decades later. charlie: but he studied them? an

joining me are the exhibition curators ann temkin and anne umland. i am pleased to have them both at this table. what wonderful titles. >> we're proud of them. >> rose: you should be. why now? everybody is raving about this. picasso attracts a crowd for his brilliance and the diversity of his work and the constantly changing work that he did. and this realization that sculpture is such an important part of his work. >> right. >> rose: and it hadn't been here how many years? >> 50. and i think the general fact is that sculpture is less known and less thought about than painting because it's harder to make a scene. it takes up more space, more trouble to transport, more trouble to arrange in a gallery and, so, therefore, across the board sculpture is less well known, but particularly with picasso. >> rose: how good was picasso as a sculptor? (laughter) >> as good as he was at everything else, i think. i mean, i think that's one of the revelations of the show. >> rose: that's exactly what someone said to me. i had no idea he was as good a sculptor as he