Paper

Student Artwork Guide

Three Musicians

Name Class Date

Pablo Picasso, Three Musicians (1921), MOMA - Museum of Modern Art. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Pablo Picasso topimpressionists.com/en/artists/pablo-picasso/
Artist’s dates
1881 – 1973
Painted
1921
Medium
Oil On Canvas
Original size
201 x 223 cm
Movement
Cubism Objects broken apart and shown from several viewpoints at once, all flattened onto one surface.
Period
Modern
Held at
MOMA - Museum of Modern Art topimpressionists.com/en/museums/moma-museum-of-modern-art-new-york-city/
Artistic style
Synthetic Cubism
Influences
Commedia dell'arte
Notable elements or techniques
Synthetic Cubism, flat planes, geometric shapes
Subject or theme
Harlequin, Pierrot, and a monk performing

In context

Three Musicians — Pablo Picasso

How big is it?

The original measures 201 × 223 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940
  8. 1950
  9. 1960
  10. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 92 at death.

Painted when the artist was 40. The artist lived to 92. 549 of the 1098 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Pablo Picasso (1881–1973) ▲ this work, 1921 every dated painting, decade by decade

First works: up to 1906 Main working years: 1906–1939 Late works: from 1939

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/pablo-picasso-three-musicians-5ZKDK5-en/

Colours

Measured from the image

    Main colour

    Bronze #bb7922

    Catalogued palette

    • #BB7922
    • #2E2110
    • #A7A9AD
    • #6A4524

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Bronze
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    Share of the visitors who opened this painting over the last twelve months — 60 countries in all. Where these figures come from

    The ten leading countries

    1. 1 Japan 8.3%
    2. 2 Spain 8.1%
    3. 3 France 8.1%
    4. 4 India 6.5%
    5. 5 United States of America 6.5%
    6. 6 Italy 4.0%
    7. 7 South Korea 3.8%
    8. 8 Philippines 3.8%
    9. 9 Brazil 3.5%
    10. 10 Colombia 3.3%
    11. · 50 other countries 44.1%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Pablo Picasso

    1. 1 Guernica, 1937 10.5%
    2. 2 Three Musicians, 1921 this painting 9.1%
    3. 3 The Young Ladies of Avignon, 1907 3.5%
    4. 4 Portrait of Ambroise Vollard, 1910 2.2%
    5. 5 A boy with pipe, 1905 1.6%
    6. 6 Two women running on the beach (The race), 1922 1.2%
    7. 7 Self-Portrait, 1906 0.8%
    8. 8 Women of Algiers (Version O), 1955 0.7%
    9. 9 Friendship, 1908 0.7%
    10. 10 La Vie (Life), 1903 0.6%
    11. 11 Guitar player, 1910 0.5%
    12. 12 Mediterranean Landscape, 1952 0.5%
    13. 13 Woman with book, 1932 0.5%
    14. 14 Child with dove, 1901 0.5%
    15. 15 Sabartes, 1901 0.5%
    16. 16 Saltimbanques (The Family of Saltimbanques), 1905 0.5%
    17. 17 Portrait of Dora Maar, 1937 0.4%
    18. 18 Glass and Bottle of Suze, 1912 0.4%
    19. 19 Bull (plate X), 1946 0.4%
    20. 20 The Three Musicians, 1921 0.4%

    Together these works take 35.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 2304 works by this artist, of which 1536 were looked at at least once. This painting ranks 2 of them, with 9.1% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Three Musicians — Pablo Picasso

    The Composition and Form

    The painting presents three figures arranged within a shallow, boxlike space that resembles a stage set. On the far left, a figure identified as Pierrot wears a white, cone-shaped hat and a black eye mask. This character holds a grey clarinet between small, brown hands. In the center, a figure dressed as Harlequin features a red and gold diamond-patterned costume. He holds an ochre guitar with black and brown rectangular shapes representing the neck and strings. To the right, a third figure is dressed in a long, black hooded robe. This monk holds a wide, rectangular piece of sheet music that displays black musical notes on white paper. A dark brown dog is partially visible beneath the table, with only its tail, legs, and the shadow of its head appearing between the figures.

    The technique utilizes flat, interlocking planes of unshaded color. These shapes include shades of blue, brown, white, black, and yellow. The perspective is flattened, rejecting traditional depth in favor of multiple viewpoints presented simultaneously. While the construction resembles a collage of cutout paper, the effect is achieved through layers of oil paint on canvas. Sharp, angular lines define the edges of the geometric shapes, creating a structured, jigsaw-puzzle-like arrangement. The background consists of dark brown walls and a lighter brown floor.

    Historical Context and Symbolism

    Created in 1921 in Fontainebleau, France, this work belongs to the Synthetic Cubist period. The figures are drawn from the Commedia dell'arte, an Italian tradition of masked theater. The characters Pierrot and Harlequin are stock figures known for their specific roles in improvisational performance. Some interpretations suggest these figures represent individuals close to the artist, such as the poet Guillaume Apollinaire and the poet Max Jacob.

    The painting reflects a period following World War I, characterized by a movement toward order and clarity through geometric abstraction. The use of flat color blocks and simplified forms replaces the more fragmented analysis seen in earlier Cubist stages. The presence of the monk and the musical instruments introduces themes of performance and creativity. Despite the structured geometry, the muted palette and the arrangement of the figures contribute to a mood of quiet contemplation.

    Artist and museum

    Artist

    Pablo Picasso

    Born in Malaga, Spain

    The boy from Málaga

    A child's first words in Málaga were “piz, piz,” a small attempt at saying pencil. This early pull toward the lead and paper was nurtured by his father, José Ruiz y Blasco, who taught him the basics of figure drawing and oil painting. The boy learned to copy the masters and draw from plaster casts under a disciplined eye. As he grew, the family moved through A Coruña and Barcelona. These years were marked by the quiet weight of loss, particularly the death of his sister, Conchita, from diphtheria when she was only seven. Such shadows would later find their way into the heavy, blue-green tones of his early work.

    By thirteen, he was already taking entrance exams for advanced classes in Barcelona, finishing in a week what took others a month. His hands moved with a precision that even his father noticed, once seeing him paint over an unfinished sketch of a pigeon with such accuracy that the instructor realized the student had surpassed him. He eventually moved to Paris, a city where he would spend much of his adult life, constantly shifting his focus from one way of seeing to another.

    Shifting palettes and fractured forms

    The early twentieth century saw his work move through distinct phases of color and mood. There was the Blue Period, where the canvases were filled with beggars, the blind, and the lonely, rendered in somber shades of blue. This gave way to the Rose Period, a time when pinks, oranges, and reds appeared, often featuring the figures of circus performers like harlequins and acrobats. These years showed a man reacting to his own life and the world around him through the temperature of his palette.

    In 1907, the way he handled space changed fundamentally with Les Demoiselles d'Avignon. Influenced by African masks and Iberian sculpture, he began to break objects into geometric shapes. Alongside Georges Braque, he developed Cubism. This involved two main stages:

    Analytic Cubism: A method of fragmenting objects into muted, geometric pieces as if dissecting the form itself.

    Synthetic Cubism: An approach that brought in collage elements like newspaper clippings and fabric scraps to add texture and new layers.

    A life of constant change

    His work never settled into a single way of being. He explored Neoclassicism with large, monumental figures and later engaged with the imagery of Surrealism, using distorted perspectives to tap into the subconscious. The violence of the Spanish Civil War left its mark on his canvas in 1937 through Guernica. This large oil painting used a stark palette of black, white, and grey to show the suffering of a bombed town, featuring a gored horse, a bull, and screaming women. It remains a heavy, monochromatic response to the chaos of war.

    In his later years, he continued to experiment with ceramics, sculpture, and printmaking. He even created large-scale public works, such as the 1967 steel sculpture in Chicago, which was inspired by the head of his Afghan Hound, Kabul. He died in Mougins, France, leaving behind a massive collection of work that spans over seventy-six years of experimentation.

    Museum

    MOMA - Museum of Modern Art

    On show in New York City, United States of America

    A Sanctuary of Modernity: Exploring the Soul of MoMA

    Nestled within the vibrant pulse of Midtown Manhattan, the Museum of Modern Art (MoMA) stands as far more than a mere repository for artistic treasures; it’s a living testament to the relentless spirit of innovation and the enduring power of human expression. Established in 1929 by visionary philanthropists, MoMA emerged from the shadows of the Great Depression not merely as an institution, but as a defiant declaration: a dedicated space consecrated solely to embracing the radical, the challenging, and profoundly influential works destined to shape the future of art. From its humble beginnings within the Heckscher Building, it has blossomed into an architectural marvel and a globally recognized landmark, inviting visitors on a profound journey through over a century of artistic evolution – a continuous narrative woven from groundbreaking movements and individual genius.

    A Tapestry of Artistic Innovation

    At the heart of MoMA’s breathtaking collection lies a carefully curated panorama spanning the late 19th century to the present day. Iconic works resonate across generations, each piece a window into a specific moment in art history. Vincent van Gogh's Starry Night, with its turbulent brushstrokes and swirling vortex of emotion, embodies the raw intensity of Expressionism. The canvas seems to breathe, capturing not just a night sky but the artist’s profound inner turmoil. Pablo Picasso’s Les Demoiselles d’Avignon shattered artistic conventions, laying the foundation for Cubism and forever altering our perception of representation. Its fragmented forms and jarring perspectives challenged traditional notions of beauty and perspective, ushering in an era of unprecedented experimentation. And Andy Warhol’s iconic silkscreen prints – particularly Campbell Soup Cans – capture the electric energy of postwar America with their bold colors and playful engagement with popular culture. These seemingly mundane objects, elevated to the realm of art, became symbols of consumerism and mass production, reflecting a rapidly changing society.

    Beyond these monumental figures, MoMA boasts an astonishing breadth: from the delicate brushstrokes of early Impressionists like Monet, whose Water Lilies evoke a serene contemplation of nature, to the abstract explorations of Kandinsky, who pioneered non-representational art; the pioneering photography of Alfred Stieglitz, documenting the dawn of modern photography; and the architectural designs that have shaped our world. Each gallery unfolds as a new chapter in this ongoing story, revealing the diverse voices and perspectives that have defined modern artistic expression.

    A Space Designed for Contemplation

    The transformation of MoMA in 2004, spearheaded by Japanese architect Yoshio Taniguchi, was more than just a renovation; it was a reimagining of the museum’s very soul. Taniguchi's design prioritized natural light, creating an atmosphere of luminous serenity that profoundly enhances the impact of the artwork. The atrium, bathed in sunlight streaming through expansive windows, serves as a central gathering area – a space designed for quiet contemplation and a deeper engagement with the art on display. This deliberate architectural choice reflects MoMA’s commitment to fostering a holistic experience, recognizing that the environment itself can contribute significantly to our understanding and appreciation of artistic expression. The careful consideration given to light, space, and flow creates an immersive setting where visitors are invited to lose themselves in the world of modern art.

    Shaping Art Historical Narratives Through Landmark Exhibitions

    MoMA’s legacy extends far beyond its permanent collection; it has consistently been a catalyst for groundbreaking exhibitions that have fundamentally reshaped public perception and redefined art historical narratives. Alfred H. Barr Jr.’s “Cubism and Abstract Art” (1936) stands as a watershed moment, introducing audiences to Picasso, Braque, Kandinsky, and Mondrian – artists who dared to transcend representational limitations and explore uncharted territories of expression. This exhibition wasn’t simply an exposition; it was a bold assertion that art could move beyond mere imitation and delve into the realm of pure feeling and form. Later exhibitions have continued this legacy, tackling contemporary issues with remarkable insight and fostering critical dialogue about our world – from explorations of Surrealism to the rise of Pop Art and Minimalism. The museum’s curatorial team has consistently demonstrated a willingness to challenge conventional wisdom and present new perspectives on art history.

    A Museum for Our Time

    Today, MoMA remains deeply engaged with pressing social issues through exhibitions that address climate change, identity, and justice. It champions artistic innovation and fosters dialogue globally, recognizing the vital role of art in shaping a more equitable and sustainable future. The museum’s commitment to inclusivity is evident not only in its collection but also in its programming, which actively seeks to amplify diverse voices and perspectives. Furthermore, MoMA's dedication extends beyond the purely aesthetic; it embraces a responsibility to engage with the complexities of our time, using art as a tool for critical reflection and social change. The museum’s ongoing efforts to connect with contemporary concerns underscore its role as a vital cultural institution in the 21st century.

    Where to read more

    Find this online

    QR code linking to the download page for Three Musicians

    topimpressionists.com/en/art/download/pablo-picasso-three-musicians-5ZKDK5-en/

    Cite this artwork

    MLA
    Picasso, Pablo. Three Musicians. 1921, MOMA - Museum of Modern Art. https://topimpressionists.com/en/art/pablo-picasso-three-musicians-5ZKDK5-en/
    APA
    Picasso, Pablo (1921). Three Musicians [Painting]. MOMA - Museum of Modern Art. https://topimpressionists.com/en/art/pablo-picasso-three-musicians-5ZKDK5-en/
    Chicago
    Pablo Picasso. Three Musicians. 1921. MOMA - Museum of Modern Art. https://topimpressionists.com/en/art/pablo-picasso-three-musicians-5ZKDK5-en/
    Harvard
    Picasso, Pablo (1921) Three Musicians. MOMA - Museum of Modern Art. Available at: https://topimpressionists.com/en/art/pablo-picasso-three-musicians-5ZKDK5-en/

    Look closely

    Three Musicians — Pablo Picasso

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 2 — do you agree?)
    4. Our catalogue files this work under: musicians, guitar, clarinet. Do you agree? What would you add, or take away?
    5. Look back at Guernica (1937), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Three Musicians — Pablo Picasso

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. Which artistic period does 'Three Musicians' exemplify?

      • A Analytical Cubism
      • B Synthetic Cubism
      • C Neoclassicism
    2. 2. Who are the three figures depicted in the painting?

      • A A pianist, a guitarist, and a violinist
      • B Harlequin, Pierrot, and a monk
      • C A clown, an acrobat, and a musician
    3. 3. In which year was 'Three Musicians' painted?

      • A 1907
      • B 1921
      • C 1937
    4. 4. Which Italian theatrical tradition inspired the characters in this work?

      • A Commedia dell'arte
      • B Opera Buffa
      • C Commedia dell'improvviso
    5. 5. What animal is partially hidden under the table in the MoMA version of the painting?

      • A A cat
      • B A horse
      • C A dog

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4A · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    How big is the original "Three Musicians"?

    The recorded dimensions of "Three Musicians" by Pablo Picasso are 201 x 223 cm. Reproductions can be ordered in other sizes while keeping the same proportions.

    Where and for what purpose is "Three Musicians" recommended?

    Use (focal) and space (living room) are the two recommendations recorded for "Three Musicians" by Pablo Picasso.

    What feeling does "Three Musicians" bring as a present?

    "Three Musicians" carries a melancholic feeling, and its recorded gift recommendation is corporate gift.