This presentation aims to analyse the pictorial manifestations of a Picasso preoccupied with painting destined for museums, owing both to the copies he made as a student of Fine Arts and to his experiments with new figurative languages concerned with significant examples of western painting. While the latter coincides (with trappings of perpetuity) to the likewise second half of Picasso’s artistic biography, the most interesting aspect of such a phenomenon resides in his earlier approach (in previous years) to familiar pictorial models for his own paintings, consistently reflecting his voracity in assimilating this entire world of images.