Picasso at Madoura – Why His Ceramics Matter in Serious Collections

When Pablo Picasso began working with ceramics in Vallauris in the late 1940s, it marked neither a departure from his practice nor a decorative experiment.

At the Madoura workshop, ceramics became a medium through which Picasso could translate motifs, forms and symbols already present in his painting and graphic work into three-dimensional objects. Plates, vases and plaques were treated not as utilitarian objects, but as surfaces for artistic investigation.

The collaboration with Madoura, led by Suzanne and Georges Ramié, allowed Picasso to engage directly with the technical and material aspects of ceramic production. Importantly, these works were conceived, authorised and produced during the artist’s lifetime, under his supervision, and within a clearly defined historical framework.

Picasso’s ceramics from Madoura occupy a distinctive position within his post-war oeuvre. They sit between sculpture, painting and printmaking, combining painterly gesture with sculptural form. Far from being peripheral, they reflect a period of renewed experimentation and artistic freedom.

For collectors, Madoura ceramics often represent an entry point into Picasso’s work that is both historically grounded and materially rich. Editioning, glazing techniques, stamps and period of production play a crucial role in evaluating these works beyond surface appearance alone.