Saying that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace. In his 50th birthday, the little Spaniard from (1)______ Malaga had become the very prototype of the modem artist as public figure No painter before him had a mass audience in his own lifetime. The total public for (2)______ Titian in the 16th century or Velazquez in the 17th were probably no more than (3)______ a few thousands of people—but that included most of the crowned heads, (4)______ nobility and intelligentsia of Europe. Picasso’s audience—meaning people who had heard him and seen his work, at least in republication—was in tens, (5)______ possibly hundreds, of millions. He and his work were the subjects of unending analysis, gossip, dislike, adoration and rumor. There seems a little doubt that the greatest of Picasso’ work came in (6)______ the 30 years between Les Demoiselles d’Avignon and Guerin. Sometimes he would be folded up series of variations on the old masters (7)______ and 19th century painters he needed to measure himself up, such as (8)______ Velazquez and Goya, or Poisson, Delacroix, Magnet and Curbed. In his last years particularly, is production took on a manic and obsessive quality, is though the creative act can forestall death. Which it could not. His death left the public with a nostalgia for genius that no talent today, on (9)______ the field of painting, can satisfy with. (10)______