Arriving in the village of Vallauris, in the south of France in 1946, Picasso visited the Ramie's studio and was seized by the desire to work with ceramics, something he had already done even if occasionally in Spain in his youth. Also thanks to his meeting with the young Jacqueline Roque, who worked with the Ramies and who later became his last partner, Picasso began to attend the workshop where, in the following years, and until his death, he created over 4000 works. He often used jugs and plates that already existed and were part of the popular tradition that he, with his intervention, transformed into archaic and symbolic forms of fantastic animals or forms with a strong primordial imprint. The evocative and desecrating capacity of Picasso's form found, in the use of ceramics, a highly suggestive element that allowed him to create works that are now unanimously considered to be the highest expression of ceramic art in the world. Picasso's work was a forerunner for many artists who, after him, tried their hand at ceramic art as it was in the fields of painting, drawing and graphic arts.