Question: How many pieces does Picasso's exhibit have in Paris?
About the article "Pablo Picasso", section "Recent major exhibitions".

Candidate passages:
Works 1935–1959.
Early works.
In 1935 Picasso's wife Olga Khokhlova left him.
That summer, rather than leave Paris as was his custom, Picasso stayed home, withdrawing to the relative isolation of le Château de Boisgeloup in Gisors that autumn.
According to friend and biographer Roland Penrose, at first: "Picasso let no one know what he was jotting down in the little note-books that he hid as soon as anyone came in the room.
"Some of Picasso's first poetical explorations involved the application of coloured blobs to represent objects.
He gave up this approach to focus upon words and his early attempts employed a strong use of visual images and his own method of using dashes of differing lengths to break the text.
Picasso quickly abandoned punctuation altogether, explaining to Braque:"Punctuation is a cache-sexe which hides the private parts of literature.
"In a 1935 letter to her son, Picasso's mother said: "...
They tell me that you write.
I can believe anything of you.
If one day they tell me that you say mass, I shall believe it just the same."
That same year, André Breton wrote about Picasso's poetry for the French artistic and literary journal "Cahiers d' Art", wherein Breton exclaimed that: "Whole pages appear in bright variegated hues like a parrots' feathers."
Penrose describes how in the following fragment, "..words have been applied as a painter uses colour from his brush.
":listen in your childhood to the hour that white in the blue memory borders white in her very blue eyes and piece of indigo of sky of silver the white white traverse cobalt the white paper that the blue ink tears out blueish its ultramarine descends that white enjoys blue repose agitated in the dark green wall green that writes its pleasure pale green rain that swims yellow green...-Excerpt from early Picasso poem.
Over a six-week period in the spring of 1936, Picasso sent a series of letters to his "closest confidant and devoted friend" poet and artist Jaime Sabartés.
Penrose notes that: "such frequent letter-writing was so unusual as to be disquieting, and a certain sign of restlessness."
On 23 April, Picasso wrote to Sabartés announcing that: "from this evening, I am giving up painting, sculpture, engraving, and poetry so as to consecrate myself entirely to singing."
However, four days later Picasso wrote: "I continue to work in spite of singing and all.
"As is the case with his paintings, Picasso's poetry can be read and interpreted in numerous ways.
The majority of his poems are untitled, apart from the odd mention of time and place, solely the dates are given.
Sabartés recalled how: "Speaking about his writings, he always tells me that what he wants is not to tell stories or to describe sensations, but to produce them with the sound of the words; not to use them as a means of expression but to let them speak for themselves as he does sometimes with colours.." 
We have seen that by partitioning the disk into an infinite number of pieces we can reassemble the pieces into a rectangle.
A remarkable fact discovered relatively recently is that we can dissect the disk into a large but "finite" number of pieces and then reassemble the pieces into a square of equal area.
This is called Tarski's circle-squaring problem.
The nature of Laczkovich's proof is such that it proves the existence of such a partition (in fact, of many such partitions) but does not exhibit any particular partition. 
Born in 1927 in Paris, she was only two when her father abandoned her mother and her four-year-old brother.
Jacqueline never forgave him.
Her mother raised her in a cramped concierge's lodge near the Champs Elysées, working long hours as a seamstress.
Jacqueline was 18 when her mother died of a stroke.
She married André Hutin, an engineer, in 1946 with whom she had a daughter, Catherine Hutin-Blay.
The young family moved to Africa when Hutin worked, but four years later returned to France and divorced Hutin.
She settled down on the French Riviera and took a job at her cousin's shop, the Madoura Pottery in Vallauris.
Picasso met Jacqueline in 1953 at the pottery when she was 27 years old and he was 72.
He romanced her by drawing a dove on her house in chalk and bringing her one rose a day until she agreed to date him six months later.
In 1955, when Picasso's first wife Olga Koklova died, he was free to marry.
They married in Vallauris on 2 March 1961.
Roque's image began to appear in Picasso's paintings in May 1954.
These portraits are characterized by an exaggerated neck and feline face, distortions of Roque's features.
Eventually her dark eyes and eyebrows, high cheekbones, and classical profile would become familiar symbols in his late paintings.
It is likely that Picasso's series of paintings derived from Eugène Delacroix's "The Women of Algiers" was inspired by Roque's beauty; the artist commented that "Delacroix had already met Jacqueline."
In 1955 he drew "Jacqueline as "Lola de Valence"", a reference to Édouard Manet's painting of the Spanish dancer.
In 1963 he painted her portrait 160 times, and continued to paint her, in increasingly abstracted forms, until 1972.
After Picasso's death in 1973, Francoise Gilot painter and Picasso's former companion between 1943 and 1953, and mother of two of his children Claude and Paloma, had already launched litigation to have their father certified insane, fought with Roque over the distribution of the artist's estate, and agreed to establish the Musée Picasso in Paris.
Jacqueline Roque, after confirming her presence to an upcoming exhibit of her private collection of Picasso's work in Spain, shot herself with a gun, 13 years after the death of Picasso in Mougins. 
"Bull's Head" () is a found object artwork by Pablo Picasso, created in 1942 from seat and handlebars of a bicycle.
It is described by Roland Penrose as Picasso's most famous discovery, a simple yet "astonishingly complete" metamorphosis.
Picasso described the artwork in 1943 to visiting photographer George Brassaï, saying:Guess how I made the bull's head?
One day, in a pile of objects all jumbled up together, I found an old bicycle seat right next to a rusty set of handlebars.
In a flash, they joined together in my head.
The idea of the "Bull's Head" came to me before I had a chance to think.
All I did was weld them together... if you were only to see the bull's head and not the bicycle seat and handlebars that form it, the sculpture would lose some of its impact."
In 1944, catalogued as "Bicycle Seat", the sculpture was displayed at the Salon d'Automne in Paris together with another 78 works.
Visitors were shocked by Picasso's new works and a demonstration took place, during which "Bicycle Seat" was one of the pieces removed from the wall.
"Bull's Head" is described by art critic Eric Gibson as unique amongst Picasso's sculptures for its 'transparency' - the constituent found objects are not disguised.
He says the sculpture is "a moment of wit and whimsy ...both childlike and highly sophisticated in its simplicity, it stands as an assertion of the transforming power of the human imagination at a time when human values were under siege.
"The sculpture is in the permanent collection of the Picasso Museum in Paris. 
During the Second World War, Picasso remained in Paris while the Germans occupied the city.
Picasso's artistic style did not fit the Nazi ideal of art, so he did not exhibit during this time.
He was often harassed by the Gestapo.
During one search of his apartment, an officer saw a photograph of the painting "Guernica".
"Did you do that?"
the German asked Picasso.
"No," he replied, "You did".
Retreating to his studio, he continued to paint, producing works such as the "Still Life with Guitar" (1942) and "The Charnel House" (1944–48).
Although the Germans outlawed bronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by the French Resistance.
Around this time, Picasso took up writing as an alternative outlet.
Between 1935 and 1959 he wrote over 300 poems.
Largely untitled except for a date and sometimes the location of where it was written (for example "Paris 16 May 1936"), these works were gustatory, erotic and at times scatological, as were his two full-length plays "Desire Caught by the Tail" (1941) and "The Four Little Girls" (1949).
In 1944, after the liberation of Paris, Picasso, then 63 years old, began a romantic relationship with a young art student named Françoise Gilot.
She was 40 years younger than he was.
Picasso grew tired of his mistress Dora Maar; Picasso and Gilot began to live together.
Eventually they had two children: Claude, born in 1947 and Paloma, born in 1949.
In her 1964 book "Life with Picasso", Gilot describes his abusive treatment and myriad infidelities which led her to leave him, taking the children with her.
This was a severe blow to Picasso.
Picasso had affairs with women of an even greater age disparity than his and Gilot's.
While still involved with Gilot, in 1951 Picasso had a six-week affair with Geneviève Laporte, who was four years younger than Gilot.
By his 70s, many paintings, ink drawings and prints have as their theme an old, grotesque dwarf as the doting lover of a beautiful young model.
Jacqueline Roque (1927–1986) worked at the Madoura Pottery in Vallauris on the French Riviera, where Picasso made and painted ceramics.
She became his lover, and then his second wife in 1961.
The two were together for the remainder of Picasso's life.
His marriage to Roque was also a means of revenge against Gilot; with Picasso's encouragement, Gilot had divorced her then husband, Luc Simon, with the plan to marry Picasso to secure the rights of her children as Picasso's legitimate heirs.
Picasso had already secretly married Roque, after Gilot had filed for divorce.
This strained his relationship with Claude and Paloma.
By this time, Picasso had constructed a huge Gothic home, and could afford large villas in the south of France, such as Mas Notre-Dame-de-Vie on the outskirts of Mougins, and in the Provence-Alpes-Côte d'Azur.
He was an international celebrity, with often as much interest in his personal life as his art.
In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in Jean Cocteau's "Testament of Orpheus".
In 1955 he helped make the film "Le Mystère Picasso" "(The Mystery of Picasso)" directed by Henri-Georges Clouzot.