This is a portrait of Picasso in the post-war years. Post Paris. Post austerity. Re-entering his own birthright beside the Mediterranean Sea (he was born in Malaga) in the south of France. Basking in the sunny warmth of his acclaim and success. And, of course, quite befittingly, the mood has changed dramatically. Much of the greyness has drained away from his palette; a new playfulness has entered into the making. He is creating different kinds of things too, including huge quantities of ceramics and sculptures, large and small. These ceramic objects and these sculptures are the best things in the show. Many of the paintings – the portraits of women, for example – are dull ‘revisitings’ (ie often rather poor near-copies) of his stylistic mannerisms of the past. But these sculptures! They have a reckless derring do about them – look at the gorgeous girl skipping, torso fashioned from an old basket, which faces you as you enter the main gallery, or the wooden sculpture, fashioned from sticks and blocks, so delightfully crude, of a mother winging her child up into the air. These are sculptures which seem to say: what have I to lose by making this at breakneck speed from the unpromising stuff that surrounds me in the studio or just outside? Or examine the wonderful baboon whose face has been made from a toy car. Who but Picasso would have pressed that car into service in this way? There is an intense preoccupation with children, for themselves, and at play. He paints children enjoying themselves with a reckless childishness, as they might have painted themselves had they been him. You spot it the moment you enter into the central gallery, children everywhere, represented in painting and sculpture. His own children – sleepy-eyed Paloma, for example. There were always so many to choose from. One or two were even legitimate. Always so much to do, always so many jismic marvels.