The Carnet Paris and the Carnet Dinard, done in the latter half of 1928, are two of Picasso's most significant sketchbooks. Like diaries in the form of drawings, they provide a day-by-day record of often precipitous formal developments in the artist's work of the period. They also minutely document one of the most interesting transitions in his career, from the neoclassical solidity of the early 1920s to a reawakened urge to analyze, distort, and abstract real forms late in the decade.