the verse

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 London, lacking the historical masterpieces that inspired Picasso, cannot compete. But the National Gallery's pragmatic adaptation, to ditch all historical work yet inexplicably maintain the argument of Picasso "challenging the past", is a travesty, since it leaves a show unable to illustrate its subject. A thematic hang adds confusion; a room-by-room guide pointing visitors upstairs to works in the National's collection is no substitute for direct canvas-by-canvas comparison.

伦敦缺乏激发毕加索再创造灵感的历史名作，这一点缺乏上述城市的优越性。但国家美术馆本次展览为了实际效应，罔顾本馆缺乏相关历史作品的事实，仍然不可思议地沿用巴黎展“毕加索：挑战过去”的主题，无异东施效颦，难以自圆其说。布展方式则更增混乱，从展室到展室的指南将参观者引向楼上美术馆的藏品，这绝对无法替代前面提到那些画展的展出模式：相邻作品之间生动的直观比较。

 Such highlights illustrate how, within a narrow subject range - artist and model, nude, portrait, still life - Picasso's long career follows a pattern thrillingly diverse yet ravishingly unified by mastery of line, composition, pictorial beauty, and as a chain of experiments testing, to the limits, the representational value of form. Never tempted by abstraction, he was beleaguered when it became the international style of the 1950s. That lends the paraphrases of this period poignancy and piquancy, as Picasso turned his process of deformation and transformation to 15 versions of Delacroix's "Women of Algiers", 27 paintings based on Manet's "Le Déjeuner sur l'Herbe", 50 variations on "Las Meninas". Examples of all are here; the device of working in series, the unfinished look, the caricature aesthetic, all announce them as 1950-1960s works, despite accusations of sterility and isolation at the time.    

这类杰作证明：终其漫长一生，毕加索在狭窄的主题范围（画家和模特、人体、肖像和静物）内，追求多元的表现形式，他通过完美驾驭线条、构图、形象来统一这种多元性。这也是他一系列的实验，用以探讨造型表现力的极限。毕加索从未被抽象主义诱惑，但是到了抽象主义成为国际流行风尚的十九世纪50年代，他还是因此而困惑。这一时期的作品不免有些惨痛意味，他以扭曲变形的手法创作大量戏仿前辈作品的系列：主题分别为德拉克洛瓦“阿尔及尔的女郎”（15幅），马奈的“草地上的午餐”（27幅）和 “仕女图”（50幅）。所有的例子都在这里：系列作画的策略，不完整的面貌，漫画美学……所有这些都宣布了它们是1950-1960年的作品，当时被批评为枯竭和孤立。