My benchmark for that analysis was his Dora Maar au chat of 1941 that not many years ago was auctioned at a very high price. So my point was that he seemingly had largely run out of creative fuel by the time he was around 60 years old.
Which leads us to the present post that deals with some of his paintings from the late 1920s into the early 1940s. His stylistic changes are shown with an eye towards both his previous and future work.
Very flat, largely primary colors with black lines on a nearly-white background. These features are Piet Mondrian- like, absent the rigid geometry. The "model" at the left has three eyes arranged vertically, a fairly early example of his radical repositioning of his subjects' elements. In a sense, this is an extension of cubist practice, but without so much clutter.
More flat colors, but thinner lines and attention to overlapping areas.
More flatness along with not-quite-human subjects. An exception is the tiny Dalí-like lancer on his horse at center-left.
Picasso is concerned with patterns here as well as ways of distorting the human figure. Returning is some modeling atop otherwise flat areas.
He continues his exploration of distortions and rearrangements. Fortunately for Picasso, his fame had long since reached the point where his signature on a painting would almost guarantee its sale regardless of its quality.
He also took some time-outs to return a little closer to representation.
Portrait of his mistress at the time he painted his famous "Guernica." Flat areas of 1930 vintage are gone while he continues playing with post-cubist rearranging.
Here he tries leaving a segment in monochrome where a handkerchief might be.
Continuing his exploration of distortion, rearrangement.
A return to flatter areas and heavy lines. I wonder what Dora thought of this one.
Two years later, Dora is still around, and so are Picasso's late-1930s concepts. To me it seems that he had largely run out of new stylistic ideas by that time and was settling into the long period mentioned in the link above.