If we look at Picasso's linocut oeuvre we are indeed soon inclined to endorse Helene Parmelin's assessment, since we get the impression that as the artist delves more deeply into this technique he totally adopts the material and even explores entirely novel, previously untested technical procedures to come closer to realising his intentions.Of course, Parmelin's statements are designed to serve the apotheosis of Picasso as an artist by describing his true greatness as residing precisely in the restriction-free handling and sublimation of the material.