Casagemas (1880-1901), the son of the American consul general in Barcelona, was a year older than Picasso, his best friend. A painter and poet, he accompanied Picasso to Paris to visit the World's Fair in autumn 1900. There, he fell in love with Laure Gargallo, known as Germaine, who ultimately spurned his affections. In despair, Casagemas committed suicide on February 17, 1901, after first attempting to kill Germaine. Picasso was already back in Barcelona by that time but was deeply affected by the news. Nevertheless, when he returned to Paris in May 1901, he took up residence in Casagemas's former apartment and began a liaison with Germaine. Later in 1901, Picasso painted two large compositions and several small studies inspired by Casagemas's suicide. Germaine appears next to Picasso in "At the Lapin Agile", 1992.391.
Inscription: Signed in ink, at bottom: - P. Ruiz Picasso -
Santiago Juliá, Barcelona (by 1955); C. Michael Paul, New York (until d. 1980); his sister, Dr. Raymonde Paul, New York (1980–82; her gift to MMA)
Barcelona. Els Quatre Gats. "Exhibitions of Drawings by Pablo Picasso," February 1900, no catalogue [possibly this picture].
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Kunstmuseum Bern. "Der Junge Picasso: Frühwerk und Blaue Periode," December 6, 1984–February 17, 1985, no. 85.
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Barcelona. Museu Picasso. "Picasso i els 4 Gats: La clau de la modernidad," November 1995–February 1996, no. 73.
Cleveland Museum of Art. "Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí," October 15, 2006–January 7, 2007, no. 3:18.
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Josep Palau i Fabre. Picasso en Cataluña. Barcelona, 1966, pp. 66, 238, fig. 30.
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Josep Palau i Fabre. Picasso, Barcelona, Catalunya. Barcelona, 1981, p. 35, ill.
Josep Palau i Fabre. Picasso: The Early Years, 1881–1907. New York, 1981, pp. 191, 530, no. 438, ill.
Lisa Messinger. "Picasso Portrait Drawings: Barcelona 1899–1900." Drawing: The International Review published by the Drawing Society 8 (November 1986), p. 77, fig. 12.
Elizabeth Cowling inPicasso Portraits. Ed. Elizabeth Cowling. Exh. cat., National Portrait Gallery, London. London, 2016, pp. 51, 235, no. 35, ill. (color).