This fully illustrated catalogue to a recent Gagosian gallery exchibtion, curated by John Richardson, with new essays by Mary Ann Caws, Victoria Combalía, and Marvin Heiferman, as well as key texts by Jacques Prévert, Man Ray, and Paul Hayes Tucker. explores how Picasso used photography not only as a source of inspiration, but as an integral part of his studio practice. Spanning sixty years, the book includes many photographs taken by Picasso but never before seen or published, as well as related paintings, drawings, sculptures, prints, and films. It provides an unprecedented survey of his unique relationship with the camera.   The most famous visual artist of the 20th century, Picasso was also the most photographed. His striking features became an icon of his own time, recognized the world over. Yet this phenomenon was not a mere by-product of celebrity; his own practice set the precedent. Picasso engaged with photography and photographers in myriad ways, starting from his early days in Paris and continuing through the last years of his life. He used the camera to capture life in the studio and at home, to try out new ideas, to study his works and document their creation, and to shape his own image as an artist at work. He collaborated with Brassaï, his celebrated mistress Dora Maar and Andre Villers to create wholly original works, filmed home movies of his family and friends, and worked with filmmakers such as Luciano Emmer and Henri-Georges Clouzot to capture his creative process. His life and work were documented by photographers as diverse as Jean Cocteau, Cecil Beaton, Man Ray, Lee Miller, Edward Quinn, Jacques-Henri Lartigue, Lucien Clergue, Michel Sima, and Arnold Newman. The resulting body of photographs and films, filled with fact, invention and myth, is vital to an understanding of Picasso's achievements across his entire artistic output. As Picasso said to one of his favorite photographers Brassaï, "...I want to leave as complete a record as possible for posterity."