In his 91 long years on this earth, Pablo Picasso never paid a visit to America. Less shockingly so, that means he also definitely never set foot in Longmont.

But now, for a limited time, his art is here — even if his corporeal form never was.

Opening on Friday, the Longmont Museum presents “A Graphic Journey: Prints by Pablo Picasso,” an exhibition showcasing more than 60 of the icon’s original works spanning nearly five decades. From intricate early etchings to bold linocuts and lithographs, the collection offers a rare look at Picasso’s restless creativity, constant reinvention, mastery of printmaking, and, well, problematic behavior.

The exhibit also features — in an unexpectedly local twist — a collection of original Picasso ceramics on loan from a Boulder County family.

From 6-8 p.m. Friday, the opening reception at the Longmont Museum, 400 Quail Road, Longmont, will offer some serious French vibes as guests are invited to wear cocktail attire for a Longmont night in Paris. There will be live music from 20th-century French composer Erik Satie on piano, personal charcuterie plates available for purchase ($8) and a cash bar that will be slinging French cocktails. Guests can be among the first to explore the new exhibit at this night of culture.

While Picasso’s name alone is enough to draw a crowd, what makes this exhibit stand out is the rare chance to explore a lesser-known side of his genius. “A Graphic Journey” dives deep into Picasso’s printmaking process, showcasing how he pushed the boundaries of intaglio, lithography and linocut.

“It’s important to clarify that when people hear ‘prints,’ they might think of mass-produced posters,” said Jared Thompson, curator of the Longmont Museum. “But these are original artworks. Each piece was crafted through a hands-on process, making them unique works of art rather than simple reproductions.”

The exhibit showcases works from 1923 to 1972, tracing Picasso’s evolution as a printmaker. Over the decades, his approach shifted, reflecting his constant experimentation with style, subject matter and technique. In his lifetime, Picasso is said to have created more than 2,400 prints.

“One of the most fascinating aspects is the number of artist proofs included in the show,” Thompson said. “Printmaking is a very experimental process — artists test different colored inks, adjust their plates or stones, and refine their vision before settling on a final version. Seeing Picasso’s process through these proofs gives you a behind-the-scenes look at how he worked.”

For Thompson, one of the standout pieces in the exhibition is a linocut of a woman wearing a hat, a work that highlights Picasso’s innovation in printmaking.

“Visitors can see how he built this specific image, layer by layer, which really gives insight into his experimental approach,” Thompson said. “It also helps break the misconception that Picasso’s work was just Cubism. There’s so much variety in his style, from sketch-like renderings to highly refined compositions.”

But Picasso’s experimentation didn’t stop at printmaking. Beyond the 63 prints in the exhibit, “A Graphic Journey” also features a rare selection of his original ceramics — adding another peek into the artist’s restless creativity.

If you thought 2,400 was a lot, hold on to your hats — Picasso created a whopping 3,500 ceramic works throughout his career.

Thanks to an unexpected local connection, “A Graphic Journey” also includes a few of those rare pieces, on loan from a Niwot resident whose parents bought them directly from Picasso’s workshop.

“My parents got married in November 1964, and they both had a deep love for art,” said Dia Kline, whose family owns the ceramic works. “For their honeymoon, they took a cruise to Europe and spent about a month-and-a-half traveling — because, you know, that’s just what you did back then.”

Along the way, her parents decided to invest in art.

“They were hippies, part of the counterculture, and that was their thing,” Kline said.

According to Kline, they left Europe with a lithograph and three Picasso ceramics, purchased directly from the Madoura pottery studio in Spain.

“What makes this especially cool is that there’s a direct provenance line — meaning they bought these pieces straight from the source, and they’ve remained in our family ever since,” Kline said. “In the art world, provenance is everything. It’s like real estate’s ‘location, location, location.’ This is the platinum standard of provenance, an unbroken line of ownership from Picasso’s own workshop.”

But for Kline, these artis

tic masterpieces were simply part of the everyday decor growing up. “Honestly, they were always just there. My parents bought them in late ‘64, and I was born in ‘72, so I grew up in a house where Picasso’s work was just part of the house.”

She added: “There’s a photo of me as a little kid sitting on our living room couch, looking absolutely miserable — probably because I was wearing an itchy wool dress and had to sit next to my brother, which was not ideal. But behind us, hanging on the wall is the Picasso lithograph. I called it Dancing Flowers because that’s what it looked like to me. I loved it. It felt joyful.”

Kline said growing up surrounded by art felt “completely normal” to her.

“I didn’t realize how special it was,” Kline said. “To me, it was just like, ‘oh, you have a poster on your wall? Cool. We have a Picasso.’ It wasn’t until later that I truly understood what that meant.”

The decision to loan the ceramics to the Longmont Museum happened by chance.

Kline, an actor, was in rehearsals for a local production of “Almost, Maine” (that will be on stage at the museum in February) when she casually mentioned selling art to help cover her mother’s Alzheimer’s care.

“I just threw it out there: ‘Hey, anyone collect art? I’ve got a house full of it — Lichtenstein, Inuit carvings, African art, Southwestern pottery, and, oh yeah, some Picasso ceramics’,” she said.

That offhand comment stopped the museum’s marketing team in their tracks.

“Joan (Harrold’s) eyes got huge. She was like, ‘Wait, did you say Picasso ceramics?’” Kline said. “So she brought it up to the curator, they came over to see the pieces, and their reaction was basically, ‘Oh, (expletive), that’s some Picasso alright.’”

Now, the rare ceramics — once honeymoon souvenirs — are on public display, adding a bit of local lore to Picasso’s legacy in Longmont. But as Kline pointed out, the story isn’t quite over.

“For the record — they are still for sale,” Kline said. “If anyone’s looking to buy, let’s talk.”

While bringing an exhibition of this caliber to Longmont is no small feat, for the Longmont Museum, accessibility is just as important.

“Accessibility is huge for us,” Thompson said. “Our admission fees are much lower than larger institutions, making it easier for Longmont residents to experience world-class art right in their own backyard. Our exhibits are also presented in both English and Spanish, providing access to high-caliber exhibitions. Thought-provoking exhibitions, like this, enrich the cultural fabric of Northern Colorado.”

In addition to the art, visitors can further engage with Picasso and his work with a series of talks, film screenings, poetry readings and performances.

“A Graphic Journey: Prints by Pablo Picasso” runs through May 4. Tickets are priced at $8 for adults and $5 for students, seniors and veterans. Longmont Museum members and children ages 3 and under get in free, and discounted admission is available for EBT/SNAP holders. For tickets, visit longmontmuseum.org.