Title: Les Demoiselles d'Avignon
Content:  And it was meant to shock… A brothel may not in itself be shocking. But women painted without charm or sadness, without irony or social comment, women painted like the palings of a stockade through eyes that look out as if at death – that is shocking. And equally the method of painting. Picasso himself has said that he was influenced at the time by archaic Spanish (Iberian) sculpture. He was also influenced – particularly in the two heads at the right – by African masks…here it seems that Picasso's quotations are simple, direct, and emotional. He is not in the 
Title: Proto-Cubism
Content:  similarities in the rendering of space. According to Brown, "Cézanne and El Greco are spiritual brothers despite the centuries which separate them". Fry observed that Cézanne drew from "his great discovery of the permeation of every part of the design with a uniform and continuous plastic theme". In 1904 Picasso moved to Paris, where the work of post-impressionist painters Van Gogh, Cézanne, Seurat, Gauguin were exhibited at galleries and Salons. Rapidly assimilating these influences, he adapted to new styles and techniques, as the use of bright unmixed colors. The Symbolists, and Pablo Picasso during his Blue Period, drew on the cool tonality of El Greco and the anatomy of his ascetic figures. While Picasso was working 
Title: Head of a Young Woman
Content:  Spanish experts have stated that the painting is "one of the few made by the painter in his so-called Gósol period where Picasso is clearly influenced by the fabric of Iberian art …that had a decisive influence, not only on cubism, but also on the subsequent evolution of the painting of the 20th century".
Title: Pablo Picasso
Content:  a day, judging his drawings. The two argued frequently. Picasso's father and uncle decided to send the young artist to Madrid's Real Academia de Bellas Artes de San Fernando, the country's foremost art school. At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrollment. Madrid held many other attractions. The Prado housed paintings by Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso's later work.
Title: Nicolas Poussin
Content:  Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. Details of Poussin's artistic training are somewhat obscure. Around 1612 he traveled to Paris, where he studied under minor masters and completed his earliest surviving works. His enthusiasm for the Italian works he saw in the royal collections in Paris motivated him to travel to Rome in 1624, where he studied the works of Renaissance and Baroque painters—especially Raphael, who had a powerful influence on his style. He befriended a number of artists who shared his classicizing tendencies, and met important patrons, such as Cardinal Francesco Barberini and 
Title: Les Demoiselles d'Avignon
Content:  1903 and an even larger one in 1906 had a stunning and powerful influence on Picasso's paintings. In the autumn of 1906, Picasso followed his previous successes with paintings of oversized nude women, and monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive art. Pablo Picasso's paintings of massive figures from 1906 were directly influenced by Gauguin's sculpture, painting and his writing as well. The savage power evoked by Gauguin's work lead directly to Les Demoiselles in 1907. According to Gauguin biographer David Sweetman, Pablo Picasso as early as 1902 became an aficionado 
Title: Proto-Cubism
Content:  onto the two-dimensional surface. Picasso's sketchbooks for Les Demoiselles d'Avignon illustrate Jouffret's influence on the artist's work. In 1907, Princet's wife left him for André Derain, and he drifted away from the circle of artists at the Bateau-Lavoir. But Princet remained close to Metzinger and would soon participate in meetings of the Section d'Or in Puteaux. He gave informal lectures to the group, many of whom were passionate about mathematical order. Princet's influence on the Cubists was attested to by Maurice de Vlaminck: "I witnessed the birth of cubism, its growth, its decline. Picasso was the obstetrician, Guillaume Apollinaire the midwife, Princet the godfather." Louis 
Title: Les Demoiselles d'Avignon
Content:  but also its apocalyptic power. Later, speaking of the work to Dor de la Souchère in Antibes, Picasso said: "In any case, only the execution counts. From this point of view, it is correct to say that Cubism has a Spanish origin and that I invented Cubism. We must look for the Spanish influence in Cézanne. Things themselves necessitate it, the influence of El Greco, a Venetian painter, on him. But his structure is Cubist." The relationship of the painting to other group portraits in the Western tradition, such as Diana and Callisto by Titian (1488–1576), and the same subject by Rubens (1577–1640), in the Prado, has also been discussed.
Title: Proto-Cubism
Content:  In 1899 Picasso rejected academic study and joined a circle of avant-garde artists and writers known as Modernistes (or decadentes). Meeting at Els Quatre Gats in Barcelona, they assimilated trends such as symbolism and Art nouveau, characterized by contour lines, simplified form and unnatural colors. Yet, in addition to the influence of Théophile Steinlen and Henri de Toulouse-Lautrec, that of Francisco Goya and El Greco can be seen in Picasso's work of the period. A significant innovation of El Greco's later works is the interweaving of form and space; a reciprocal relationship is developed between the two that unifies the painted surface. This interweaving would re-emerge three centuries later in the works of Cézanne and Picasso. 
Title: Pablo Picasso
Content:  Portrait of Aunt Pepa, a vigorous and dramatic portrait that Juan-Eduardo Cirlot has called "without a doubt one of the greatest in the whole history of Spanish painting." In 1897, his realism began to show a Symbolist influence, for example, in a series of landscape paintings rendered in non-naturalistic violet and green tones. What some call his Modernist period (1899–1900) followed. His exposure to the work of Rossetti, Steinlen, Toulouse-Lautrec and Edvard Munch, combined with his admiration for favourite old masters such as El Greco, led Picasso to a personal version of modernism in his works of this period. Picasso made his 

Question: who influenced picasso art?
Answer: Édouard Manet.