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Digitized by the Internet Archive in
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The World Picasso
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Dm 速 LIFE
WORLD LIBRARY
LIFE
NATURE
I.IBRAKV
TIME KEAniNC PROGRAM
THE LIFE HISTORY OF THE UNITED STATES
UFE SCIENCE LIBRARY INTERNATIONAL BOOK SOCIETY
GREAT ACES OF MAN TIME-LIFE LIBRARY OF ART
TIME-LIFE LIBRARY OF AMERICA
3
IME-LIFE LIBRARY OF
ART
:2
The World
of
Picasso 1881-
by Lael Wertenbaker
and the Editors of Time-Life
TiME-LiFK Books,
New York
Books
About the Author Lael
Werlen baker
end of World
former correspondent for TiME and LirE
a
is
War
Broadway
into a
Afternoon
If
play.
.4
Gift
met Picasso toward the
to
\
soon after the liberation of Paris. She wrol
II
of a Man, the agonizing story of her husband's struggle against
the widely acclaimed Death
The book was turned
icer.
c
of Time, by Garson Kanin. Her oth(
books include The
omen. Lament for Four Virgins and The Eye of the Lu
The Consulting Editor Âť
H.
Janson
.
Professor of
is
Fme
Arts
at
New York
University, where he
of the Department of Fine Arts at Washington Square College.
Among
also Cha:
is
his
numerous
publications are his HiMorr of An ind The Sculpture of Donatelh.
The Consuhants Sir
Roland Penrose
Institute of artists.
is
Contemporary Arts
He has been
Book
tor This
a British Surrealist artist and
i
London he has do
in
a close friend of Picasso's for
the definitive study. Pic:axo: His Life
ami
ov
t
:
critic. .As
much
to
Chairman of the
promote the work of
30 years, and
n
works include
his
tt ork-
Robert Rosenblura taught in the Department of Art and Archeology
at
Princeton
University between 1956 and 1966 and has been a guest professor at Yale and Columbia Universities.
include
He
is
numerous
now Professor articles
of Fine Arts at
New York
University. His works on Picasso and his contemporaries, and the book Cubism and
Tnentieth-Century Art.
Slipcase Picasso's portrait of his
young son Paul
in a
clown
suit
was painted
in 1924.
End Papers Four etchings on the subject of the 100
made on commission
TIME-LIFE
artist
and
for the art dealer
BOOKS
his
model are part of a
collect!
and publisher Arabroise Vollard.
TIME-LIFE LIBRARY OF ART SERIES editor: Robert
'
Editorial Staff for
Associate Editor: Diana Hirsh
Jerry
TEXT DIRECTOR Martin
Morton
Maitland A. Edey
EXECUTIVE EDITOR
Mann
Korn
Text Editor: .Anne
The B arid ofPieasso:
Horan
ART DIRECTOR
Picture Editor:
Sheldon Cotlei
Designer: Paul Jensen
CHIEF OF RESEARCH
Anthonv Wolff
Assistant Designer:
Beatrice T. Dobie
S/a/
PICTLRE EDITOR
Leonard
W olfe
(fn/ers;.MariannaKastner,
Frank Kendig. James MaHood
Robert G. Mason
Chief Researcher: Martha Turner
Assistant Text Directors:
Researchers: Adrian Condon. Susan Susan Jonas, Martha Robson,
Harold C. Field. Ogden Tanner Assistant Art Director;
Kelly Tasker.
Yvonne Wong
An Assistant: Nancv
Arnold C. Holeywell
Earle
Assistant Chief of Re
Martha Turne.
editorial prod Color Director: Robert L. Y'oung Assistant:
Rhett Austell
Copy
General Manager Joseph C. Hazen
Planning Director: John P. Sousa Circulation Director:
Jr.
III
Joan .Manley
Marketing Director: Carter Smith Business Manager:
John D. McSweeney
Publishing Board: Nicholas Benton,
Louis Bronzo, James Wendell Forbes
James
StaJT:
Mai
J.
Col
Graf:
Contents
I
II
The Spanish Prodigy
"La Bande
a Picasso"
7
29
III
The Invention of Cubism
53
IV
Fame, Success and Marriage
73
V VI
VII
Years of Trial
"Painting.
The
.
.
is
103
an instrument of war"
Artist of the
Chronology of
Century
Artists: 184
Bibliography: 185 Credits and Acknowlcdgnieiils: 186
Index: 187
125
145
I
The Spanish Prodigy
For three decades or more the dominant figure a small
muscular Spaniard who
in his
ius of Pablo Picasso, probably the
expressed
itself
80s
most
still
in
Western
exudes
art
has been
vitality.
The gen-
prolific artist
of
all
time, has
with equal virtuosity in painting, drawing, sculpture,
graphics and ceramics
— and
come from
men. He has produced innovations that shocked,
half a dozen
enough of a variety of
in
then seen his ideas established as canon. He has influenced every
medium
a field
is
Picasso's career has spanned the entire course of
their great successors,
new
modern
rise of
art. In his
fresh;
still
Gauguin and Van Gogh and Cezanne, were
paths. Picasso's
own
artistic
other brilliant talents,
Rouault,
well,
he has not challenged directly.
youth, the imprint of Manet and the Impressionists was
ing
artists in
which he has put his hand— and architects as
to
although theirs
have
styles to
who would make
forg-
coming-of-age coincided with the
among them Matisse and Braque and mark on 20th Century
their
painting.
As
the century progressed, spawning such diverse styles as Fauvism, Ex-
pressionism, Cubism, Futurism and Surrealism, Picasso was increasingly involved, often as prime
mover and
has lived to see perhaps the most
later as philosopher-sage.
momentous development
transfer of the world's art capital from his beloved Paris to
Even among people with is
familiar.
War
II
little
him with the As
Eiffel
Tower among the
wanted to
made when he was
so's consent, arranged tours of his studio.
15.
It
was taken
after his family arrived in Barcelona,
where he received art Iraining.
this ol
his
first
Every chapter
formal in
hook opens with a portrait
Picasso,
made by
himself, a
photographer or another painter.
Each one relates either
mood
a
New
Paris at the end of
in
This photograph of Picasso was
see.
all:
He the
York.
or no knowledge of art Picasso's
American soldiers on leave
rated
of
name
World
sights they
most
consequence, an astonished Red Cross, with Picas-
Those who met him, before
he closed his door to be able to resume work, saw a short but well-built
man
with brilliant black eyes that seemed to pierce through whatever
attracted his notice. Picasso's eyes are unforgettable; they rarely blink,
and often open uncommonly wide, reflecting the image they are intent upon,
it
is
like polished
surely
dark mirrors
more than coincidence
in style or
to his art of the period.
that eyes are a peculiar hallmark ol his art.
thousands of them
in a
He has painted and drawn
thousand forms: with photographic exactitude,
or as crosses and dots, or in the shapes of birds, boats or beetles, lie has
placed
them anvwhere. one
and one lengthwise
sidevvise
hung under an ear behind glasses, or implanted where, anyhow. \et all of his eyes see. Picasso's personality
in
a face, or
forehead
in a
— anyHe
as many-faceted as his achievements.
is
combines insatiable curiosity with
on anything
a reluctance to dwell
that does not serve his art; reticence with sociability; elaborate cour-
moody neglect; a yearning for attention with a demand for He has a flair for the unorthodox, a freedom of thought and behavior, and a personal dvnamism that evoke widespread response. tesy with
privacv.
As a shield against the avid interest he excites, Picasso secludes himself
in a villa at
Mougins, a hilltop town near Cannes on the French
Riviera. There he lives in an
atmosphere of warm domesticity with
his
second wife, Jacqueline, some 40 years his junior, who openly adores
He
him.
time
domain
reigns over his
whom
only those
it
pleases
— to a grandchild,
He
an absolute monarch.
like
him
to receive.
When
receives
he does give of his
an old friend or a special stranger
— he
can be
the quintessential Spanish host, wholly absorbed in the comfort of his guest.
He
is
as jealous of his
work
as he
of his time; he sells whatever
is
he feels like selling and withholds whatever he chooses. In his ninth decade he continues to create. Almost everv day. wear-
ing a T-shirt Picasso
s father.
Don
and shorts or paint-splashed trousers, he disappears
one of the few rooms of
Jose Ruiz Blasco
(above), demonstrated the ancestral streak of
ceiling with canvases.
stubbornness that was to be so noticeable
and works
his son
when he defied
in
tradition by rejecting
life
at his art
Although he liked the
girl,
he abruptly
decided to marrv her cousi/i. Maria Picasso
Lopez (beloic) became Picasso's mother.
He bends over
a table or sits or stands at
— something he has done almost
since he was two.
his family's choice of a suitable bride.
house that are not yet stacked
his large
He
work
prefers to
an easel
every day of his
in solitude, but intimates
sometimes watched him when he was unaware of their presence. he
is
deeply involved with a canvas his concentration
into
to the
is
have
When
such that noth-
ing can penetrate the invisible wall that seems to enclose
him and
his
easel.
Jaime Sabartes. his lifelong friend and biographer, wrote that
when mo\e
Picasso paints the silence
I
is
such that the lirush can be heard
to
across the canvas.
icasso was born on October 25. 1881. in the citv of Malaga, in the
region of Andalusia
on the southern coast of Spain. The circum-
stances of his birth were decidedly inauspicious.
and the midwife abandoned him as
stillborn.
He
failed to
As Picasso
tells
breathe
the story,
an uncle who was a doctor happened to be on hand and saved his
life
by blowing cigar smoke in his nose. Then. Picasso says, "I made a face
and began to cry."
Two weeks la
later
he was baptized Pablo Diego Jose Francisco de Pau-
Juan Nepomuceno Maria de
Trinidad
and
los
Remedios Cipriano de
la
Santisima
— a roster of names that honored various godparents,
saints. At the
and Picasso
— the
end of first
Spanish custom.
this long string
for his father
young
relatives
came two more names, Ruiz
and the second
for his
mother,
Picasso would sign himself
as
is
P.
Ruiz or P. Ruiz Picasso until about 1902, when he settled on Picas-
so alone
— partly
.4s
because
a
it
was
artist
less
common
than Ruiz, partly out of
fondness for his mother. Picasso's family belonged to the professional middle class. His father.
Don
Jose Ruiz Blasco, whose forebears had been minor aristo-
was
crats,
a tall
man nicknamed "the Englishman" because of his redHe was a museum curator,
dish hair and his liking for English ways.
and an
a teacher of art
ings were "dining
room
Picasso has said that his father's paint-
artist.
pictures, the kind with partridges and pigeons,
hares and rabbits, fur and feather. Fowl and flowers. Especially pigeons
and
lilies. Lilies
and pigeons."
Don Jose's eldest brother, who once served as an envoy
Picasso's Uncle Diego, was a diplomat to Russia.
Another uncle, Pablo, was
doctor of theology and canon of the cathedral
in
who rescued
Salvador, the cigar-smoking doctor
a
Malaga. The third,
Picasso
birth,
at
was
Director of the Health Department of the Port of Malaga. Picasso inherited his looks from his mother, Maria Picasso Lopez, a
Malaguena with coal black
petite
hair, the
daughter of a
servant
civil
who went to Cuba when she was a child and disappeared there. The name Picasso is found in Italy as well as in Spain, and Maria's grandfather is known to have been born in a village near Genoa; thus it is possible, as many biographers have asserted, that she was somehow related to Matteo Picasso, a
Genoese
son discounts this theory, but he
artist of is
the mid-19th Century. Her
interested
enough
in
to
it
have
purchased a portrait painted by Matteo Picasso.
'ther biographers, hoping to explain the calligraphic flourishes that
Picasso often employs in his drawings, have tried to trace his ancestry
Moors, and
to the
still
others to the gypsies, because he
quick to
is
turn any place he inhabits into a camp, and prone to regard the world with a bright amoral stare. Genealogy supports neither claim, but insofar as
both the gypsies and the Moors are a part of the mainstream of
Spanish culture, both have contributed to Picasso's heritage. Picasso seldom reminisces about his childhood, but
mood
to talk about
50 years
later
it
an earthquake from which his family
three, Picasso told Sabartes:
her head.
I
me
"My mother
had never seen her
from the rack, threw in its folds."
it
the
in
I
..,l/.!..m.
when he was
was wearing a kerchief on
like that before.
over himself, took
fled
me
My
Details of the past remain sharp in Pirasso"s
father took his cape
in his
arms and wound
Another time, delighted with sudden
claimed: "I remember
when
he speaks in singular detail. Remembering some
recall,
he ex-
learned to walk by pushing a tin of Olibet bis-
precise visual 74. he
memory. When,
was shown
photograph of himself taken four, he
was able
I
knew what was
inside."
a
Apparently he could draw before he could cording to his mother, were "piz, piz" for
— an object
ing relatives, were lorruellas a
His
— spun
managed
would recur
ample, into breasts Like
in
his
work years
in a portrait of
many another
and disciplined him
one of
later,
name
spiral
derives
form of the
transformed, for ex-
his mistresses.
parent of a prodigy, Picasso's father encouraged
in his precocity.
instruction in art by the time
Don
Jose was giving Pablo serious
he was seven. The boy took to
He was, in fact, preoccupied does not know the sequence of the readily.
words, ac-
to indicate to admir-
sugar cakes, whose
word meaning "to bewilder or entangle." The
torruellns
first
the Spanish for pencil
he was always demanding. Often he covered entire sheets
of paper with elaborate spirals, which, he
from
talk.
Idpiz.
with art; he swears that he
it
still
alphabet and that he received a
the age ol
at
the age of
to recall the e.xact
color of the clothes he had
cuits because
at
this black-and-white
worn
at
the time:
vermilion jacket with gold buttons,
bronze-colored shoes, a white
bow and
collar.
grammar school certificate only because a kindly Malaga schoolmaster supplied him with the answers he required to pass an arithmetic test. As a budding
Some
hand.
kept to use as models for his
roamed the he could burro
streets of Malaga.
— and
in
own painting, and of the animals He was so proficient at sketching
that that
— the
belly of a horse or the tail of a
one continuous
line
produce a remarkable likeness of
He could
also cut their forms unerringly
Birds and animals delight him
tle scissors.
a Picasso
at
from any point
start
the beast.
took his inspiration from subjects
artist Picasso
of his earliest drawings were of pigeons, which his father
still:
from paper with
in the
Cold
lit-
^\ ar era.
"dove of peace" served Communist propagandists on
mil-
lions of posters.
Y I 1
ou oung Pablo had another ready subject
in
the bullfights, which he
began attending while small enough to be admitted free because he could
sit
on
his father's lap.
wood when he was in
the bullring.
The
eight or nine,
He
first oil
he ever attempted, painted on
shows some people watching a picador
has kept the painting to this day, although
somewhat damaged; Picasso's younger sister, had poked nails through the eyes. His
when he was
17,
first
etching,
was also of a picador. He
image would be reversed
in printing,
the picador holding the lance in his
Lx)la,
then aged
to be celebrated
among
hand, he blandiv
his friends for his
tions of the bullfights there. "People think that
I
in
result, with titled
painted them the day before and sold
them
El
it
Barcelona and
marvelous recrea-
painted the pictures
of bullfights in those days after they were over." he says. "Not at I
is
made on copperplate
Zurdo (The I^ft-htinded One). By then he was living
was soon
it
or six,
failed to anticipate that the
and when he saw the left
five
all.
anyone so
as to have
Picasso's lifelong absorption in bullfights, his use of the
monochro-
enough money
to
buy a
to
ticket."
matic browns and ochers peculiar to the Spanish landscape, his love of the grotesque, his concern with the real even
most obscure (by realist)
—
all
his
own word, he
when
painting at his
regards himself as above
all
a
these are indisputably in the tradition of Spanish painting.
Despite the fact that he has lived in France since 1904, Picasso has
Pigeons have been a favorite subject of Picasso's from his earliest years.
The
birds were kepi by his father as subjects for his
own
painting and flew freely through the
family rooms. Even
some
Picasso enjoyed having studio in Paris.
his
flv
about his
Young Pablo made
drawing when he was only
shows
years later.
.50
them
freedom of
1
1,
but
line within
a very controlled composition.
10
this it
alreadv
remained thoroughly Spanish, both y sonibra
sol
manner
— sun
in
moods of
his
he speaks Spanish, his whole
and his gestures quicken.
lightens,
when Picasso was almost
In 1891,
work and
in his
When
and shade.
10, his
father took a teaching
post at the School of Fine Arts in La Coruna, an Atlantic port
700 miles
northwest of Malaga where for part of the year rain and fog replaced the
warmth and luminous horizon
Away from and listless. Much tomed.
to
which the family had been accus-
Andalusia, Picasso recalls, his father grew morose of the time he sat watching the rain through the
When
window, and he seldom painted. unfinished, then turned
it
he did, he usually
the work
left
over to his son to complete for him.
One evening Don Jose returned from taken one of his unfinished sketches
had
a stroll to find that Pablo
— of a
pigeon
— and
painted with
exquisite precision the talons and the delicate feathering along the bird's
The
legs.
effect
was better than anything the father himself had ever
achieved. Ambivalently gripped with
handed
his
own
palette
and brushes
Don
pride and despair.
then
to his son,
Jose
and vowed
13,
never to paint again.
When
Picasso was not painting, or
school, or sitting in on his
at
ther's classes, he walked everywhere, searching the world for subjects. In short order he filled a great
fa-
around him
many sketchbooks
with
drawings of the harbor of La Coruna, the beach and the surrounding countryside, as well as with numerous portraits of his sister Lola.
Then
as
now he worked without
hesitation, capturing images with in-
credible speed and rarely altering what he had done.
For his relatives
in distant
Malaga, Picasso issued a miniature news
sheet to which he gave various journalistic titles such as La Coruna
—
anA A zul y Blanco (Blue and U kite) the latter probably a play on the name of a well-known Spanish magazine, Blanco y !\egro (White and Black).
The
''Director,
P.
Ruiz,"
he
as
proclaimed
artist.
The
illustrations
were
mal weather. Under a drawing of a man gripping his umbrella pour he wrote: "The rain has begun, and
An
adjacent drawing of two
men and
man and
touching on La Coruna's
topical, often
will
on
himself
the masthead, also served as editor, writer, reporter, layout
in a
dis-
down-
continue until summer."
woman whipped by
the wind
is
captioned: "Also, the wind has begun and will continue until Corufia
is
a
no more." These sketches, executed with both a grasp of anatomy and a talent for
total self-assurance, reveal
lifelike detail. This drawing of Christ administering Grace to the Devil was 14.
I
ears later, in ea
French children's like
Raphael, that
these children." in art
1946, Picasso visited an exhibition of British and art
and commented that
"it
me many
took
He whose
at their
age he was drawing
years to learn
how
to
draw
father's doing. Like
all
run-of-the-mill instructors of his time,
Don
as an
Jose
young painter consisted
strongly that the best training for a
first
newspaper he had
drawing that
showed
it
to a visitor
human body and from
likenesses, and the student
live
spilled out of
left little
room
little
handmade newspapers and numerous sketches
made between 1888 and
of
not do so was believed to have
no future as a painter. Such an approach
later
an old leather portfolio
models. The aim was to produce exact
who could
62 years
was crammed with copies of other
assiduously copying the masters, then drawing from plaster casts of the
the age of
example of "early church art." The
Picasso had
felt
at
as an illustration for an
issue of a small family
jokingly
served an apprenticeship rigidly bound by tradition. This was his
it
created for Christmas Day. 1895. Picasso
like
sense of freedom brought about a revolution
made by Picasso
He had used
for imagination
11
1895.
—
or originality
— not only
in
Spain but in academic art circles everywhere.
The Ruiz family remained in La Coruna for nearly four years, until 1895. when a professor at the School of Fine .Arts in Barcelona offered to trade positions with Don Jose. Never reconciled to La Coruna, Don Jose leaped at the chance. The family's move was preceded by a visit to Malaga, where the relatives made a great fuss over Pablo, already, at regarded as the family genius. Uncle Salvador paid models to pose
13,
for his
nephew. One was an old
whose
sailor
realistic portrait, still in
Picasso's possession, displays extraordinary draftsmanship. Pablo's eccentric sisted
Aunt Pepa
When
Picasso
first
most cosmopolitan peratures,
its
They regarded as feckless
and
Despite
— as
was
it
it
is
today
energetic citizens considered themselves their fellow
countrvmen
lazv. Fiercely
— Spain's
warm sunshine and equable
its
Andalusians,
citv as a wellspring of
to their
own
tem-
northerners.
to the south, the
proud of their
then as now,
in-
her jewels.
all
saw Barcelona
city.
ish culture, thev clung, like
though the dav was blazing, she
also sat for him:
on wearing her fur coat and
Span-
language, Catalan
Spanish, an offshoot of Latin.
^^ituated on the Mediterranean, Barcelona has been a crossroads of East and West since the rise of medieval commerce. Heart of the region of Catalonia, it has shared in an illustrious history. From the 13th Century to the 15th Isabella,
— and
prior to the reign of Ferdinand and
who brought
the provinces that today constitute Spain under
— the
Catalans enjoyed political independence, eco-
centralized rule
nomic prosperitv and a flourishing
art.
Now,
in
the 1890s, thev were
preoccupied with modernismo. an intellectual movement that deplored the materialism brought on by industrial advance. Drawing and painting fashion
in
the academic
— occasionally from live models but — the young
in
and Arthur Schopenhauer
tutelage.
The
He made
faithful copies of the dreary busts
and torsos
training was rigidly traditional.
in the art school at
was able
Belgium, from the Pre-Raphaelites in England. In Barcelona
exponent was the architect Antoni Gaudi, in his buildings, rejected traditional ideas
its
a defiant individualist
of symmetry and
flat
in
leading
who,
surfaces
La Corutia,
where, because his father was on the faculty, he
filtered
Germany, from Maurice Maeterlinck
in
most often from plaster casts
Picasso worked under his father's vigilant
had
Its ideas
from the north of Europe: from the works of Friedrich Nietzsche
to spend his days.
in favor of
"natural" curves and billows. Politics and letters concerned
adherents of modernismo no past
less
than the
vocated the overthrow of
all
tradition
Some
venerated the
and established order
of anarchy, in the arts and in politics alike. in
arts.
and urged a reassertion of ancient or medieval values. Others ad-
mind Jaime Brossa. an eminent
that listening to an
argument
in a
in favor
With these contradictions
local philosopher,
Barcelona cafe was
once remarked like
hearing a
Chopin ballade and The Marseillaise plaved simultaneouslv. Vihether favoring modern anarchism or medieval order,
political talk
centered on separatism; Catalans, partly because of their distinctive language, partly because of their history, believed that Catalonia should
sever
its
formal
ties
with Madrid and the rest of Spain. In art the view-
prevailed that, with the 20th Century approaching, artists were on the
threshold of a great new day and .All
who was
great
new
style.
Don
Jose,
scarcely happier in Barcelona than he had been in La Coruna.
But his son thrived
12
some
the artistic ferment and talk of modernismo escaped
in the
new surroundings and became
so identified
with Barcelona that
many
people, even Spaniards, believe that he was
born there. Picasso's friends say that when he
from morrina it
is
which he regards as
for Barcelona,
Soon
he often does,
his true
home.
down, Don Jose decided
after the family settled
undertook the formal study of
that Pablo
suffers, as
— a term that encompasses both the blues and nostalgia art.
As
was time
it
a faculty
member
at
— better known as La Lonja from the trading was housed — Don Jose could pull some special
the School of Fine Arts
exchange strings.
which
in
it
He persuaded
school
allow his son to take the exam-
officials to
ination for entry into the advanced class, which was meant for stu-
dents far more mature than Pablo. The examination required two charcoal drawings of a living model, to be strictly judged for realism and precision. Picasso finished the task in a week, a quarter of the time
most students took. Both drawings are
still in
awed jury admitted the 13-year-old candidate
Once
enrolled, he
something
left
made
An
the school archives.
to the school forthwith.
to be desired in his attention to dis-
-among them Manuel Pallares, Manuel Hugue, Sebastian Junyer-Vidal and Carles Casagemas. all of
cipline, but he
whom
were
to figure in his later life.
Don
In time,
several fast friends
let go.
Four or
room near home where many another father, he was
Jose rented a tiny
could work in solitude. But like five
the boy loath to
times a day, en route to and from his classes
La Lonja, he dropped
in at
new
the
studio,
and he persisted
ing Pablo's drawings "Failed" or "Distinguished," as
it
in
at
mark-
suited him.
His son soon balked under this surveillance and arguments between the two began to be frequent.
At 15 Picasso
won honorable mention
bition of Fine Arts in sick
woman
of the
the periodic National Exhi-
at
Madrid for Science and Charity, a painting of
a
attended by a doctor and a nun. The extreme elongation
woman's hands prompted the
to scoff that the doctor
— for whom
art critic
Don
of a Madrid newspaper
This unflatteringly realistic nude study was
made by Picasso
Jose had served as a model
in
1895 as part of his
entrance examination to an art school in
was taking "the pulse of
The same picture
view, however.
competition
in
a glove."
Not
all critics
later
won
shared this derisive
medal
a gold
in
a local
Although
Malaga.
art
school in Spain; a century earlier the great Goya, cherished by
all
atPicasso later confided to his friend
Spaniards, had been the director of painting there. In 1897, with the
promise of an allowance from Uncle Salvador, Picasso capital
— barely
N<
doubt Picasso meant
lo
16 and, for the
first
set off for
his teachers considered his
drawings to be extraordinarily mature,
Don Jose and Uncle Salvador decided Pablo should Royal Academy of San Fernando in Madrid, the foremost
Eventually tend the
Barcelona. The jury, believing they had
discovered a prodigy, swiftly admitted him.
Kahnweiler that he much preferred the pictures he had done earlier, perhaps because
they were
much more
spontaneous.
the
time, on his own.
to attend the
academy
in
Madrid, but he
tended to chafe under any kind of formal instruction and so, asserting his
now-famous
instinct for independence, he stopped going to classes
soon after he had enrolled. But he was not trasts of wealth
and poverty,
its
endlessly fascinated him and spurred
Not the
least of
idle.
Madrid, with
its
con-
broad boulevards and squalid alleys,
him
to
work
at
almost fever pitch.
Madrid's attractions was the Prado, with
its
glorious
collections of paintings by Velasquez, Goya, Zurbaran and others. Per-
haps above
all
Picasso admired the work of El Greco,
who had
fallen out
13
—a
Shown below and on
the opposite page are
self-portrait, of several of the
who frequented Barcelona.
style
— the
works.
Bohemians
the cafe Els Quatre Gats in
The sketches were displayed
back room along with others first
later
Romeu
"You can
tell it"s
why he had
Don
Ins
grehas"
— the Spanish for "long, matted hair."
"You
Jose wrote back:
are following the bad way."
.Although this was a prolific period for Picasso,
shunning school, and the
much drawing
small that Picasso was too poor to buy
The few
canvas.
has survived from
little
when he learned that his protege was occasional sums sent by Don Jose were so
off funds
Uncle Salvador cut
it.
(holtom picture
he just by
fa-
ther pictures which he painted in conscious imitation of El Greco, and
in a
in a similar
opposite j from the back. Picasso, with a laugh said,
subjects were thought to flout Spanish tradition. Picasso sent his
public exhibition of Picasso's
^ hen asked
port raved Pere
of fashion after his death in 1614 because his jarring colors, his antirealism and the eccentrically elongated limbs and mystical faces of his
sketches by Picasso, including a
paper.
let
alone
pieces of paper that remain are crowded to the edges
with sketches of bourgeois citizens, gypsies, beggars and cafe scenes. In the spring of 1898 Picasso
came down with
he had had enough of Madrid and
scarlet fever, decided
With Manuel
left.
Pallares, his
friend at La Lonja, he went to recuperate in Horta de
"Horta de Ebro."
village in Catalonia that Picasso called
was
IIbis hi:
his first
encounter with country
he already knew and sympathized with the den, caught up in a wav ol share;
now he began
life
A
life.
first
San Juan after
—
its river.
child of the city,
of the urban downtrod-
lot
whose material
benefits they did not
understand the human struggle against the
to
forces of nature. Irrigation
made the Ebro
valley rich, but
beyond the
valley the landscape stretched to a forbidding horizon of limestone
mountains. Peasants lived huddled together Pablo Picasso
stone houses and fought
in
for survival with their bare hands. Despite the harshness of the
Picasso loved later
it.
He
he would boast of his proficiency.
orking alongside the villagers
\S
he made numerous sketches of them,
at their tasks,
life,
learned to yoke oxen, load mules and milk cows;
all
tranquil scenes
that reflect his peace of mind.
He returned
to
Barcelona
and exu-
in the spring of 1899. a healthy
berant IT-year-old fully prepared for adulthood. His essential character was formed, the pattern of his less or gentle, gregarious or
with a sense of
human
tragedy,
despair. Acutely sensitive, he his
Ramon
Casas
own
life
plainly set.
He could
be ruth-
withdrawn. He combined prankish gaiety
moods
of elation with floods of black
was open
to all
manner
of ideas
— but on
terms, for he was too ruggedly independent to submit to the
dominance of others.
He wholeheartedly adopted and the
citv
embraced him
a natural catalyst, for
that delighted
trigued
Cats."
listened
more than
it
at
more than he
had
to off^er
talked, had a sharp wit
the favorite of a
the tavern Els Quatre Gats
The name was
it
was. he proved to be
offended, and a cockv masculinity that in-
women. Before long he was
met nightly
\oungas he
he radiated an intensity that charged the atmo-
He
sphere around him.
the city and everything
in return,
Bohemian
— Catalan
for
set that
"The Four
on Le Chat Noir, a Montmartre
a variation
cafe,
and was also based on a Catalan saying, "We're only four cats," meaning "There's
nobody here of any account." At Els Quatre Gats moder-
nismo v/as the main topic of conversation; cessive reviews published by Pere
voung unknowns decorated the of puppet shows and J.
14
M. Soler
it
was the theme of two suc-
Romeu, the
walls,
cafe owner. Paintings by
and the cafe was also the scene
shadow plavs directed bv Miguel
Ltrillo. the art
who was
historian
later to
adopt the painter Maurice Utrillo as his son.
Picasso no longer lived
other impecunious
home, but shared
at
artists.
a series of studios with
Each place became his own, cluttered with and brushes. Financed only by
his sketches, canvases, paints
a pit-
tance from his father, he lived from hand to mouth. But he managed
make occasional
to
views
and
— to Romeu's
to
Catalunya
small Pel
i
of his sketches
sales
Ploinn (Brush
Arli'slica.
He
and
also filled
modernismo
to
re-
Pen), to Jovenint (}outli),
cheap sketchbooks with stud-
ies
of his friends, the Barcelona docks, dance halls, cabarets and broth-
els,
the rooftops from his garret window, and, of course, the bullfights.
whom
His abiding affection for his family, in portraits of
Don
Lola and
Jose and in a
he visited daily, showed
number
tures on conventional themes that he painted father. But in
much
of conventional pic.Santiaso Rusinol
solely
please his
to
of his work Picasso was beginning to reflect change.
Miguel Utrillo introduced him
work of Jaime Huguet,
to the
15th
a
Century Catalan primitive, and rekindled his enthusiasm for El Greco.
He
met
also
a local
Ramon
painter,
Casas,
who encouraged him
to
emulate the stark realism of the Swiss lithographer Theophile Alexandre Steinlen and the Post-Impressionist Henri de Toulouse-Lautrec.
The capacity
for spongelike absorption that has characterized Picasso
ever since began to be apparent.
He used
the attenuated figures of El
Greco, the strongcolors and bold strokes of Toulouse-Lautrec, and sometimes the two-dimensional figures of Japanese prints, then a vogue
all
over Europe. Whatever his choice of styles, he displayed one significant consistency; invariably, he depicted his subjects with compassion. luirnnri Pitxot
was, in sum, a fertile and meaningful period for Picasso. In Feb-
It
ruary 1900 he had his favorable press notice.
professor child,"
He
La Lonja
at
first
exhibition at Els Quatre Gats and his
The anonymous
— wrote
showed "extraordinarv
critic
— thought
that the artist, facility in the
to
first
have been a
more than
''hardly
a
use of brush and pencil."
also noted the diversity of influences acting
upon Picasso. Most of
the drawings on display were portraits of Picasso's friends.
D
'espite the stimulation of Barcelona, he
began
to be restless.
He
thought of going to England. Don Jose had mixed feelings about the idea.
Dour and
was reluctant
friendless,
still
melancholy away from Andalusia, he
to part with his son;
he lived only for the boy's
But
art.
he had always dreamed of seeing London himself, and no doubt he
hoped that the works of the great English portrait painters would spire his son.
er
— without
So he handed over telling Picasso
all
the
how bare
money he could
in-
scrape togeth-
this left the family
cupboard
to finance the English venture. In the fall of
1900 Picasso
set off for
mas, his classmate from La Lonja, with dio.
On
the
ceded them, all
artists
perience
way they stopped in line
London with Carles Casage-
whom
he had been sharing a stu-
in Paris. Several of their friends
had pre-
with the belief, held in Barcelona as elsewhere, that
and dressmakers must go
some of the
to Paris. Picasso
best years of his
look back
upon
he was to
test his talents in
a sizable
life.
was about
Although only
19,
to ex-
he could
body of work that was varied and assured.
Now
the world's greatest arena of art.
15
—
L_ ven as a child Picasso was a formidable draftsman and by the time he was at right,
14,
when he made the
portrait
he had become a competent painter as
Technical virtuosity came so easily to him that
having studied interest in
in several art schools,
academic training, with
him was the
life
Search
of a Style
lost
emphasis on
copying and severely limited subject matter. fascinate
at 16, after
he quickly
its rigid
In
well.
What did
of the city scenes of the ;
cafes, sketches of the poor
and drawings of street
entertainers flowed from his hand. In his
own search
for a personal
means of expression,
Picasso turned away from the art of the academy and
joined the revolution brewing in Paris and other northern cities since
the 1870s,
when
their colorful technique.
the Impressionists established
He was
and also by the expressive
intrigued by their
work
style of later innovators like
Toulouse-Lautrec, Van Gogh and Gauguin, which he
knew only bv description or reproductions. He drew support for his
matter
—
own work from the fact
city life
that their subject
— was the very one he had chosen.
By the time he was
19, Picasso
of the action in art, which he
had left home
knew was outside
in search
Spain.
Treasured by Picasso as a favorite early work, this portrait of an
impoverished
from a
Although he returned there three times during the next few years,
it
became
clear that Paris
home. Before he was 25. he had wrought
was
to be
his great
natural abilities into a powerful, personal style first
16
that could
— the
unmistakably be called "Picasso."
live
art school.
was painted
Already he was so
skillful that
face
girl
model before he enterec
the
girl's
body and
— and even her intense gaze
are rendered with great confidence.
Girl uilh
Hnrc Fori. 1805
17
riw
lllâ&#x20AC;&#x17E;r
Hoy. 1896
Don Jose Ruiz
I icasso's
first
Blasro:
teacher was his lather,
Don
'I'hr
Pigmns.
Jose Ruiz
Blasco, a skilled painter of traditional subjects like the one
above at the
and under
left.
skill in
that
was
to
at left reveals his
the careful proportions of the figure
and the precise delineation of the surplice. Yet
that a traditional painter
altar
boys
even this early work hints
mark the
at
delicate lace
the originality
rest of his career, for Picasso
simplified the scene, eliminating
much
of the background
Follirs
of Pans. 1863
would have crowded
into the piclurc.
Don Jose's teaching method was academic,
his direction his son learned to paint with
meticulous accuracy. The picture technical
Honore Daumier, The
Picasso
fir^l
lullv
broke away from his father's
tradition with a scene depicting a dingy tavern interior
(below), a
work influenced by Daumier lithographs
the one above a
at right.
Not only
like
in its real-life subject,
change from the posed scenes of home and church
he had been doing, but in outlines and
its
muddy colors,
rough brushwork, heavy
this youthful painting
foreshadows the expressive style Picasso would develop.
^)
j,^_ Poster for Els Quatre Gats (The Four Cats),
If
s^"Wt^-'Wsi
I n his late teens Picasso artistic
became involved with the
avant-garde of Barcelona. Headquarters for
the intellectuals was a cafe called Els Quatre Gats,
Troupe
where
<Je
M^^EGLANTINE aeopalre fSs Eqlanlme
^-
&?. "Jane
^
Avrfl
Gazelle
talk often
working
in
turned to the great artists
London and
Paris.
One of their
who were favorites
was Toulouse-Lautrec, whose expressive posters
(left,
above) for cafes, dance halls and theaters had
reached a wide audience. In a poster f/ar/e/(j that he Henri de Toulouse-Lautrec: Poster, 1896
designed for his cafe, Picasso shows the Frenchman's influence unmistakably in his use of bright colors and
sinuous, heavily outlined shapes.
Despite the excitement in Barcelona, Picasso
wanted
to see the
advances
in art
being made
elsewhere. At the age of 19, he set out for London, but stopped over in Paris and got no farther. oil
painting he did there (below) was a scene
cafe Le
Moulin de
made famous by
la
Galette, a
The at
first
the
Montmartre landmark
earlier painters. But the
atmosphere
had changed since the time when Renoir painted the
sunny scene
at
the
left. Its
gay middle-class patrons
are replaced in Picasso's picture by a bored and
garish-looking clientele given a faintly decadent glow
by the illumination of gas lamps.
/..â&#x20AC;˘
\lni,/iâ&#x20AC;&#x17E; lie In
Calm,-. 1900
Itiiurl lliin,
Q
'uring Picasso's stay in Paris he rapidly assimilated
varied painting techniques.
When he
returned to Spain,
works they had been concerned primarily with capturing the evanescent effects of light. Picasso was also interested
he combined them with typically Spanish subjects. The
in
quick, flickering brush strokes of pure color that
of color, brushed on in crude, energetic strokes, create
clouds
in parts of
float like
these two pictures are characteristic
of painters like the Impressionists Claude
Monet and
Pierre-Auguste Renoir. But in their brillianth colored
22
evoking a heightened emotional tone. His bold blocks
a strong sense of
drama.
Picasso's Spanish heritage
both paintings. The bullfight
shows through is
a subject to
vividiv in
which he
Hnllliiihi.
would return often, and the pathetic
figure of the dying
shows
a royal princess,
horse foreshadows a powerful image that would appear
entertainer, and
more than 30 years
all
(page
1.37).
The
later in his brilliant painting Guernini
picture
at
the
left
Picasso's sense of identity willi art.
The
figure
above demonstrates
tlir
tradition of Spanish
was inspired by one he found
in a painting
by the 17th Century master Velasquez. Ims Meninns
time (page
is
'Jill
her attendants and dw arf
among the
lb()).
I
finest .Spanish pictures ol
But Picasso did not imitate Velasquez;
he simply borrowed his subject. A friend rcralls that the artist
came
into Els
Quatre Gats
reproduction of the Velasquez, said proudly.
"Velasquez did
willi his |ii(tiirc
laid
them
and
a
side by side,
thai: Picasso did ihal."
23
and
w,
len Picasso returned to
Spain his style was
still
Pans
derivative.
after six
months
He continued
in
of color separated bv sharp outlines recall those of
Gauguin's own self-portrait (bottom ). Picassos Harlequin
to
shows not only Gauguin's influence but
experiment with the techniques of others, most notably
(right)
Van Gogh and Gauguin.
Van Gogh
Instinctively,
it
seems, the
Spaniard was attracted to painters whose strong colors, expressive line and clear indication of
were close to
his
mood and
feeling
ow n sense of what painting should
In his portrait of
Manvac f WoHJ, the dealer who had
been providing him with a monthly stipend his output. Picasso
be.
owes a debt
to
in return for
Gauguin; the bright
fields
similar to that
woman
that of
The pose of the Harlequin is strikiiiglv of Van Gogh's picture of a pensive
as well.
below. But Picasso has begun to express his
individuality in this picture, for there are subtle nuances
here that create a new
mood
quite unlike \ an Gogh's.
The
introspective gaze of the Harlequin and Picasso's use of
cool tones create a strong sense of isolation and dejection.
M^NACH-
Paul Gauguin:
.Sc//:/'Âťrtr,;i7.
1889
Iliirleimin. I<XÂťI
I
he pervasive blue that floods
moody
picture
is
would dominate Picasso's work the next three years
for
â&#x20AC;&#x201D; a time known as
Blue Period. The picture, painted
his
1901, gives the
in
this
a characteristic that
first
indication that
he would adopt such an unusual, distinctively personal stylization, but it
also reveals that his debt to other
painters was
The
still
subject
strong.
itself,
a
nude woman
bathing in a room, had been a favorite of Degas and Renoir,
who
painted
dozens of such intimate scenes. Picasso pays
homage
to
Toulouse-Lautrec, his earlier inspiration, by
showing a vaguely
defined copy of a Lautrec painting
hanging on the wall above the bed. To the
left
of the Lautrec
is
a seaside
scene that could be by either Monet or Gauguin. In the end, though, the painting
much more than
a
is
sum of its creator's
indebtedness to the past. In
downcast emotional tone,
its
in its
roughly
brushed, crude but expressive
rendering of the its
human
figure,
and
in
sense of quietude and isolation,
The Blue Room stands as the product of a full-fledged artist to assert himself in the years to
26
â&#x20AC;&#x201D; one who was
even more strongly
come.
!li|(,!»..JUl!«».lU.liJ,.,_^
The lihw Kovm, 1901
28
II
//
La Bande a Picasso
//
The first time Picasso saw Paris the city was basking in the golden age known as la belle epo<jue. Trade and colonialism had poured unprecedented wealth into Europe; industrialization had multiplied material
come
comforts: and a whole generation had
The at
rich put
on
a dazzling
Maxim's, flaunting their
recalled in his
seemed
memoirs
infidelities.
had
The painter Maurice de Vlaminck
that at the turn of the century "half of Paris
round with
to be perpetually strolling
ets." But the scene
of age untouched by war.
show, dressing extravagantly, dining lavishly
its
seamy
high society, workers toiled
side.
at least
a little cash in
Behind the
its
pock-
glittering fagade of
10 hours a day for a pittance and
beggars haunted the streets.
The fast to
arts existed
amid similar contradictions. Academic painters held
prescriptions for composition, perspective and color that had
ruled art since the Renaissance. But an artistic revolution had been gath-
ering force ever since the 1860s, certain Renaissance conventions.
when Edouard Manet first shattered He dared to paint the female nude in
everyday settings rather than as an idealized Venus, and he
abandoned shade.
One
all
but
chiaroseuro. the modeling of figures by the use of light
and
appalled older painter denounced a work by Manet on
the grounds that
its
people were "as
flat
as the figures
Manet's innovations withstood attack, and the
him took further
liberties with
on playing
artists
who
cards.'"
followed
both technique and subject matter. The
Impressionists of the 1870s disregarded conventional modeling altogethOnr
of Picasso's
in oils, this
first
self-portraits
picture was painted
during his second sojourn
when he was only face
20. His
and scraggly beard
in Paris
er,
and
drawn
life
â&#x20AC;&#x201D; he
had as yet achieved no success. But his intense gaze reveals his
at
capturing the ephemeral effects of
light.
They
a
new kind of dappled brushwork of
small, quick strokes.
Manet and the Impressionists drew on the world around them
attest to the
youthful Bohemian's hard
and instead aimed
used bright colors instead of the somber hues of the traditional ma.sters,
themes, without moralizing
â&#x20AC;&#x201D; a recent
Realists of the mid-19th Century. ly
tradition
Subsequent
founded by
a
artists, instead
for
group of of
literal-
reproducing nature, strove to express their personal sensations.
determination. The blue cast of this picture
fits
the
somber mood,
Vincent Van (jogh chose his colors for their emotional impact. Paul
Gauguin emulated the simplirilv of primitive Srll^l'nrlrnil.
\'K)\
tablished a
new concept
of Innii
m
art.
Paul Cezanne es-
his painting, altering the accepted
29
appearance of objects bv warping apples into imperfect spheres and tabletops into imperfect rectangles.
some
\^ hile
turned toward simplification, others took the op-
artists
posite path toward elaborate ornamentation. This
Nouveau. had
its
new
style, called Art
roots in a belief that craftsmanship had gone out of
applied
art. Its practitioners first
terior design, later in painting.
nament and Medieval
in architecture,
it
Thev looked
printing and in-
for inspiration to Celtic or-
and Javanese
tracerv. to Japanese prints
textiles.
made much use of natural forms, although they sometimes exaggerated them almost to the point of caricature by means of an inThev
also
tricate, serpentine line: there
peacocks"
and
tails
lilv
were no counterparts
in
nature for the
pads that adorned their vases and lampshades.
Although few major painters counted themselves part of Art Nouveau, its spirit
affected
them
new
art,
an
art with
That
all.
""\^
architect August Endell:
spirit
was summed up by the Munich
e stand at the threshold of
an altogether
forms which mean or represent nothing, yet which
can stimulate our souls as deeply as the sounds of music have been able to do."
The excitement
dominated Europe
Sinuous curves and sweeping
floral
as Art
Nouveau.
It
when he
I icasso
and
influenced painting
drawn
bly
and had a strong effect on the decorative arts
— the
lilv
Caudis
pad windows ^a6ore^ in .Antoni
Ca.sa
of taking part in a new art aborning which
the turn of the century infected the 19-year-old
arrived in Paris in October 1900.
patterns
characterize the turn-of-t he-century style
known
Picasso
at
Mila apartment house in
citv
his traveling
to
companion. Carles Casagemas. were inevita-
Montmartre, a quarter on the northern outskirts of the
where Bohemian
artists of
everv nationality lived
in
crowded com-
pany with workingmen, tramps, circus performers and petty criminals.
Barcelona and the tendril-like grillwork that
Situated on a butte high above the metropolis. Montmartre spread on
Hector Cuimard designed for a Paris subway
terraced hillsides where windmills had turned and grapevines ripened
entrance ^6e/oic^ are typical examples.
muddv
not long before. Narrow cobbled streets and
alleys climbed pre-
cipitously between warrens of tenements that were freezing in winter
and
stifling in
summer. For
and amusement
halls
relief,
the residents frequented cheap cafes
where a few francs bought food, warmth and en-
tertainment. In this rugged but friendly atmosphere Picasso soon forgot his plan to visit England.
of
Montmartre
neighborhood as
He also found had decided
He became
so popular in the Barcelona colony
that in time the Spaniards la
banded Picasso
a place to work.
to return
came
to be
known
the
in
— Picasso's crew.
The Catalan
home, gave him
painter Isidre Nonell. w ho
his studio, a
room on the narrow
summit of Montmartre. Moreover. Picasso acquired a dealer, a Barcelonan named Pere Manvac. who offered him a monthly stipend of 150 francs about 830 for all he could produce. Many a laborer lived on less: for Picasso the sum was enough to keep
Rue
Gabrielle near the
—
—
him \^
in
room and board, canvas and
paint.
hen he was not painting Picasso gorged himself on the free
feast
the citv spread before his eves. At the Louvre he saw the old masters
revered bv his father:
at dealers" galleries
pressionists and Post-Impressionists,
he saw the works of
which up
to
th.e
Im-
now he had known
only through magazine reproductions. At night he patronized the cafes.
And. as before, when he painted, he focused on the scene
at
hand,
re-
placing the streets and cafes of Barcelona with those of Montmartre.
Away from
30
his father's supervisory eye,
he broke loose from academic
He brightened
restraints.
luminous colors of the
his palette with the
One
Impressionists and simplified the modeling of his figures. best surviving in
which the
works of the time
figures of
Le Moulin de
is
men and women
H.
le
was happy
to flicker like gaslight.
he had promised his father to be
in Paris, but
home
Casagemas was miserable. Casagemas
been spurned and taken
fallen in love,
),
dark and silhou-
from Toulouse-Lautrec.
leaf
for Christmas. Besides, his friend
had
seem
of his
Gnlette (page 21
in a cabaret are
etted against bright greens and oranges that
Obviously he had taken a
la
Worse, he talked
to drink.
of suicide. Picasso thought the Spanish sun might cure his friend's lo/esickness, and together they headed back to Barcelona.
The homecoming was fraught with
Don
tension.
.Jose
objected to the
boys" appearance: their hair was long and shaggy, their dress
and bizarre. But chiefly he was dismayed by the conventional
Don
in
left for
was no happier than
in
Malaga, taking Casagemas with him.
Barcelona. Uncle Salvador
demanded
and paint sensibly; there was money
that Picasso cut his hair
made
Bohemian
pictures; to
talent.
After Christmas Picasso stay
new
Jose these Impressionistic daubings seemed a
shameful waste of good
The
his son's
be
to
Spain by anyone with a talent for portraiture. To complicate
matters, Casagemas grew
more despondent.
All
day and night he
sat in a
bar drinking and listening gloomily to gypsies wail their cante jondo
â&#x20AC;&#x201D;
Andalusian songs of heartbreak. Unable to help his friend, and made miserable by family recriminations, Picasso
There
fled to
Madrid.
when he found another
his spirits brightened
from
friend
Barcelona, Francisco de Asis Soler, an anarchist bent on awakening the
Spanish capital to Catalan mndernismo. The two joined forces to publish a
from
magazine called
-Iric
Joren
(
) oitiiii
Art). Soler solicited articles
and Picasso supplied the
intellectuals
grimly realistic cartoons aimed of sympathy for the harsh lived: for lack of funds
at
lot
of the poor.
Most were
illustrations.
various social and political
ills,
and
The magazine was
full
with the dealer
and
a
the works he had
is
and
set off again for Paris,
stopping briefly in Barcelona to bid his family
an uneasy farewell. He was beginning to be aware that the gull between
him and
his father could
freedom he had tasted to accept
Don
never be bridged. The personal and
in Paris
Jose's counsel
made
it
on painting, impossible
to readjust to his
Soon afterward Picasso underscored
strait-laced mores.
artistic
impossible for him to continue
his differences
with his father by dropping the Ruiz from his signature.
From
that
time on his works bore only "Picasso," his mother's name. In Paris in
Manyac gave Picasso one
Montmartre and
Ambroise Vollard. A and a
tiny, pursed
of the two
also unselfishlv introduin^d tall
man
with a high,
rooms him
domed
to
in his
a|)artment
another dealer,
forehead,
full
cheeks
mouth, Vollard was endowed with an astute business
sense and remarkable foresight. His friends argued hotly over whether
he had superb taste or no taste in
art,
and sometimes the second view
"What
the
nattily attired in knickerbockers
his
pipe
smoker at the lower right
companion on the a
in this self-portrait
after his return to Paris in 1901.
The bearded Bonsons.
been promised. So toward the spring of 1901 Picasso packed a portfolio
an advertisement for
broad-brimmed hat
drawn soon
In his preoccupation, Picasso had failed to live up to his agreement
Pere Manyac, who wrote demanding
like
Well-Dressed Young Painter Should Wear." Picasso
short-
expired after five issues.
it
Looking
trip,
Catalan friend.
Jaumet Andreu
is
seemed borne out bv the ter of his gallery.
sight of Vollard dozing
He was rude
him
painters he promoted; Cezanne called
amid the
dirt
and
clut-
buyers and tough on the
to prospective
a "slave-driver." But the
hard-headed Vollard was already well along toward acquiring a world-
wide clientele of wealthy collectors and important museums.
On
him
seeing Picasso's works, Vollard proinptly offered
named
together with a Basque painter
a showing,
Iturrino. For a 19-year-old, such
sponsorship was an undeniable coup. Almost anything exhibited
The
elicited his first reviews in the Paris press.
wrote
painter, absolutelv and beautifully. ject
and
Felicien Fagus
critic
La Revue Blanche, an avant-garde magazine: '"Picasso
in
him evervthing
to
,
,
He
.
a subject.
is
.
.
Van Gogh,
Delacroix, Manet, Monet,
.
.
a
with every sub-
One can own
great ancestry:
maiiv a probable influence apart from that of his
Forain, Rops, others perhaps
is
in love
is
.
at
Thus Picasso
Vollard's gallery was certain to attract critical notice.
easilv perceive
Pissarro, Toulouse-Lautrec, Degas,
each one a passing phase." Fagus
.
concluded this perceptive summary by adding that Picasso's "passion-
him the
ate surge forward has not yet left
D
'uriiig this
ship with a
second sojourn
Jew
in a
Jacob, Picasso's
masked coal,
firs*
French friend,
Gentile societv. and
made bv
his tailor father,
which he shared with Picasso, went home of
and a top
When
to Barcelona in 1901 for
money he
hat,
Picasso
want
The
letter
complained
that Picasso's Spanish friends criticized his
work
as having "too
enough form,"
much
suffered from a sense of stigma. His
still
little
he perpetually wrestled with a sense of sin and a love of pleasure, a
He could be stiffly formal at room by pulling up his trouser legs to imitate a dancing girl. Like Picasso, he combined his love of nonsense with a deep melancholy, but unlike Picasso, who was already
wish to conform and an urge to
a
soul and not
a reference to the
tailor
Jacob had spent a cheerless childhood as
let
loose.
the start of a partv, then devastate the
sent Jacob a letter fheloii) with
a sketch of himself.
formed a lasting friend-
man with a large head, and his pinceseemed somehow comic, Paradox personified,
nez and habitual top hat
his terrible poverty with a fine long
in Paris Picasso
in Brittany.
looks did not help: he was a Max
to do.
voung writer named Max Jacob. The son of a Jewish
and antique dealer a
leisure to forge for himself
was soon
a personal stvle""--but this Picasso
morbid
pronounced
culminate
emotionalism of his Blue Period paintings.
skeptic, he
in his
was undergoing
a spiritual crisis that
would
conversion to Catholicism.
Jacob saw Picasso's exhibition
at
Vollard's and by his
was "struck with wonder." He asked
own account
meet the young painter and
to
Manyac introduced them. Picasso and Jacob could communicate only through pantomime since neither spoke the other's language, but they took to each other instinctively. Soon they were meeting every day.
With Jacob that
came
his constant
to
match
his
companion. Picasso learned
Spanish
in ease
duced him to the enjoyment of French fc
V*-.
i<ri<.
!..«
.i
speak a French intro-
literature,
Picasso's earthiness contrasted sharply with Jacob's mysticism, yet
,--
his art
•^^.\n,^ T^- '-^"^ ft-^'_
to
and pungency, Jacob also
was beginning to hint
at a
new introspective
spirit.
Perhaps he
had been spurred by the criticism of Felicien Fagus; perhaps he was simplv maturing. In Lj^^.x.
any event, although he continued
and outdoor scenes favored by the Impressionists, the brightness of his colors gave to
way
to
to
paint the cafe
in the fall of 1901
somber tones; realism vielded
sentiment, impersonality to subjectivitv. For the
first
time he
dis-
played a style of his own.
One
32
picture that heralded the change
— the
most ambitious he had
yet attempted
— was
Evoaitiun (page 42), also
Casagemas because
oj
who had
known
The
as
linruil
evoked the tragic death of Picasso's friend,
it
some months before. In the painting, is mourned over by cloaked friends.
shot himself in a cafe
the shrouded body of Casagemas
About
them
a
dozen figures
wraithlike through a turbid sky.
float
are two groups of nudes, and between
Above them
all
a
woman
clutches
at
them
a
Among
mother and
child.
the rider of a prancing horse
an image that Picasso perhaps invented to suggest that
in
death Casage-
mas was being borne away by the love he could not find in life. Gone is the light ot Impressionism; in its place is an expressive darkness,
an all-pervading blue. Gone are the everyday subjects of Impres-
sionism;
in their place is
ambitious allegory. The only vestige of
casso's dalliance with cabaret
appears
life
Pi-
the nudes floating in the
in
clouds; they are naked except for incongruous, gaudy red and blue stockings
— possibly a
symbol of their profane love
in contrast to the
mother's pure love for her child.
The Burial of Casagemas
is
memorable
casso's youthful speculations on it
life,
suggests his future artistic course.
chiefly because
suffering
reveals Pi-
it
and death, and because
The mother and
child anticipate
a series of maternal studies he was soon to do, and the
predominance
of the color blue presaged his Blue Period.
Picasso provided another foretaste of this now-celebrated phase of his art in a self-portrait that
clearly reveals his
who its
own
he painted
character
defies misfortune. But the
color,
brushed
— that
1901 (page 28). In
in
of a strong-willed
most striking aspect of
in broad, forceful strokes.
It
he
it
young man
this painting
is
almost entirely blue.
is
Picasso portrayed himself on a background of deep blue, muffled against
A
filthy,
squalid beggar probably served as
I'icasso's inspiration for this watercolor.
the cold in a deeper blue overcoat. Tinged with blue and peering out
from the wraps,
his
mustached face projects
a chill isolation.
In the late fall of 1901, Picasso's friendship with
Unable
And
to sell his paintings
as he grew
family returned.
Manyac
would
at least
holidays. Except for a brief trip to Paris in the
his
be assured of food and
shelter, he left for Barcelona, arriving there in time for the
in
cooled.
elsewhere, he was often close to starving.
that he
fall
Christmas
of 1902, he remained
Spain until 1904. There he continued to paint pictures showing lone
figures against
backgrounds that he increasingly simplified. And
ever more melancholy mood, he painted almost exclusively
here has I he
in
an
is
sections of Paris and Barcelona where he lived.
He was
also chronically short of
precious art materials and had to paste two pieces of paper together to get a sheet long
enough
for this sketch. (The line across the
figure's
knees reveals the seam.) Scrawled
the left
is
a dedication to Picasso's friend
Sebastian Junyer-Vidal.
in blue.
hardly plausi-
however, for Picasso would sooner have done without food than
without paints. Another theory holds that an
artist
born
in
Spain, a
country of unvarying yellows, ochers and browns, would naturally
monochrome
congenial. But this
is
find
also improbable, since Picasso does
nothing without intent. The simplest explanation may be the best: the color he chose eminently suited his
painting the poor of the cities
begging and prostitution and
mood and
— nameless,
lost in
his themes.
men
prostitutes were plentiful in the down-and-out
much speculation as to why Picasso so persistently One easy theory that is often advanced suggests that
he was simply too poor to buy a variety of colors. This
to hire
— or women— of the streets: paupers and
been
painted in blue.
ble,
Mndman. Too poor
professional models, Picasso used the
more and more miserable, thoughts of Spain and
Knowing
entitled The
He was
hopeless people driven to
private sorrow. Talking of his sub-
33
at
jects, Picasso At 22 Picasso traveled to Paris to recorded the
momentous
settle.
He
trip in this series of
drawings, a parodv on a traditional Spanish picture-narrative form that resembles the
comic
strip.
Picasso shows himself and a
Barcelona friend. Sebastian Junyer-V
on the train and arriving he
is
in the city,
greeted with instant success.
idal.
where
The
captions below are freely translated.
rhupa Y
once recalled the poor he had seen as a child
the
in
(suck and throw) section of Malaga, so called because
lira
its
made with clams thev dug at the shore. Their yards were littered with shells tossed from the windows after "they had sucked from them their very souls/" as Picasso put it. Such wretched creatures, many of them blind, all of them alienated inhabitants ate onlv a thin soup
from society, became the principals of Picassos Blue Period paintings. The use of monochrome served to dissociate these figures from time and place;
also served to
it
emphasize that the joys of shifting
varied color had no place in their bleak milieu. In
Blue Period. Picasso's intent
Old
in
bony and
his pose
The
set forth in
sign of life about the
is little
is
cramped, as
if
man;
to suggest that
his shoulders
he finds no ease
the world around him.
I n the spring of ly.
perhaps most clearlv
study of a mystical El Greco-like figure sitting cross-
Guitarist, a
legged (page 44). There are
is
and
light
the works of the
all
The reasons
icler
1904 Picasso decided to
settle in
Paris permanent-
one Picasso chron-
for this fateful decision are obscure;
has suggested that the artist was finally put off by the "legendary
immobility" of his native countrv. In anv event, he
set
out from Bar-
celona by third-class coach with a fellow painter. Sebastian JunverVidal. Picasso recorded the adventures of the trip north in a
number
of sketches he called an '".Alleluia." after a popular type of Spanish
woodcut arranged,
like a
comic
Alleluias pictured the faithful
name
Arrival at
oneo'clock:
""•
(fi'
A a-4^
"Wow!"
man
idal
with a canvas under his
with a bag of gold,
and he gives me
lots of
is
through Pans.
/Z.;^
^« ^i«
<>».^
moved
Durand-Ruel. and the triumph hopeto Piaasso as
remote
into
1.3
Rue Ravignan.
a dilapidated build-
Max Jacob
christened
it
the bateau [avoir aher the laundry boats anchored in the Seine. Picasso lived there for five years, a period he later piest of his life, despite
roundings. The small rotting floors
a little heat,
Frika,
because of
room which served him air.
remembered
— the
as
and pots lav
lived in a
home and
studio had
In one corner stood a flimsy cupboard;
was propped against the
mouse
as the hap-
shabbiness of his sur-
wall. .\n iron stove provided
and an earthenware bowl sufficed
paints, brushes, rags pet white
— or
and stagnant
a makeshift bed
Durand-Ruel
a frock-
heavenly reward. Success was. however, imminent. In Paris, Picasso
^^
sketch, which
summon Duran-Rouel
must have seemed
ing on the southwestern slope of Montmartre. t»"
the
cash." This was a reference, misspelled, to the
fully described in the caption
as
final
arm confronting
captioned, "I
influential Parisian art dealer Paul
/
earliest life:
Parodying these popular images. Picasso depicted the pilgrimage that he and Junyer-Vidal were making to Paris. The
coated
stroll
The
their pilgrimage through
"Alleluia" indicated their jubilation on entering heaven.
shows Junver-\
A
of scenes.
strip, in a series
making
as a sink. Canvases,
in disorder beside Picasso's easel.
drawer of the
table,
A
and a large yellow dog.
was also part of the menage.
|a
Picasso was as poor as the people of his Blue paintings, for sales
famous art
were few and
dealer] gives
"lots of cash."
far
between. Vollard continued to buy from him. but
regularly; once, speaking of the late Blue Period, he exclaimed to
Jacob:
34
"Your
friend has gone
mad!"
\^
hen
\ ollard failed
him
ir-
Max
as a deal-
er,
Picasso had two other choices, each the antithesis of the cultivated
One was
Vollard.
Clovis Sagot, an ex-circus clown
who
ran a picture
business in an abandoned chemist's shop. Sagot, villainous by instinct,
openly took advantage of Picasso's impecunious state; he shaved his offer for a
300
francs.
The other
trio of Picasso's
one instance
in
works from 700
to
500
drunkard. In his shop Soulier sold bedding, basins and contraband bacco
among
to
dealer was Pere Soulier, a former wrestler and
a miscellany of art by Renoir,
to-
Henri Rousseau and Goya.
Kinder of heart than Sagot, he had no idea of the potential value of the works he handled, and once bought 10 drawings from Picasso for
20 francsâ&#x20AC;&#x201D;about $4.
Poor though he was, Picasso enjoyed
his life in Paris.
ens of new friends. Three were to change his linaire, a poet
and
critic;
Fernande was the daughter of
who had married
She was young and
doz-
partisan of Picasso; and Fernande
manufacturer of
a small-time
and
a sculptor
striking, with
him
left
artificial
went mad.
after he
auburn hair and green eyes, and she
One summer day
lived at the bateau lavoir.
in
1904, as she stood in
draw water from the communal pump
line with other tenants waiting to in the
He made
Guillaume Apol-
Gertrude Stein, an American expatriate writ-
who soon became an enthusiastic Olivier, who became his mistress.
er
flowers
life:
basement, she became aware of the insistent gaze of her new
Spanish neighbor. She thought him not particularly handsome, but liked his piercing black eyes.
under
ting
when
it
On
subsequent afternoon she was
a
a chestnut tree outside the
began to
rain.
Running
by Picasso, who was standing
house
for cover, she
found her path blocked
Voluptuous Fernande Olivier belonged
Bohemian 13 ttue
at
the entrance to the bateau lavoir. cra-
He took Fernande
dling a kitten in his arms.
sit-
to escape the heat indoors
into his studio,
and there
astonished her both with the white mouse in the table drawer and with
circle of artists
Ravignan (below) where Picasso
look his
first
Paris studio.
lumhledown tenement
iiii-knamed luilmii liivoiraher the laundry
Fernande and Picasso
In time la belle Fernande. as she
into Picasso's
life
was known, moved
in.
She
home
fitted
not even allow her out without him. Her only responsibility was to
cook, which was no easy task: Picasso expected her to feed him and
rest,
her
Somehow she managed. For the men talked and talked, or watched silently as She made no effort to order the chaos of the studio,
friends on two
his
francs a day.
she listened as the
man
painted.
not even to hang curtains.
I
or a while their
life
was tranquil and happv. and the jov Fernande
brought Picasso was soon reflected ened.
The somber blues
though the subjects were
in his
work. His whole
mood
light-
of his paintings yielded to delicate pinks; still
faintly melancholic, they
er hopelessly outcast. Picasso's
were no long-
new approach was occupied
less with
compassion than with the customary concerns of composition. This was the start of his so-called Rose Period. For the better part of six
months he devoted himself
to portrayals of circus life; harlequins
and acrobats supplanted the beggars and prostitutes of the Blue paintings.
One
Medrano
of Montmartre's favorite places of entertainment was the Circus. Picasso loved to watch the
show and even more
for
until 1000.
an odalisque, indolent and voluptuous; he did
like
The
building,
barges on the Seine, was
the blue pictures that were stacked everywhere.
to the
who occupied
to
35
wander about getting the
feel of life backstage.
His circus works
Their subjects are clowns
this dual fascination.
reflect
repose and circus
in
mothers tending their young as well as the performing jugglers and bareback riders. Picasso painted them not with the grimly skeletal bodies of the Blue Period but as charmingly wispy figures that into a rarefied
them
atmosphere of
groups rather than
in
banq lies
(paries 48-49), in
to vanish
Blue paintings.
in the solitude of the
The culmination of the
seem
and pale color. Often he depicted
light
circus paintings
the FamilY of Saltiin-
is
which Picasso characterized an entire
cast of
the itinerant players he had gradually assembled. Like the figures in the
Blue pictures, these
men and women
But the sense of misery inward,
it
gone.
is
to
summer
In the
the works of that year. this
once said to his friend Max Jacob,
hill
I
am
a great draftsman."
drawings, made clarity
when he was
These two
Boy Leading a Horse (page
23,
51), clearly
shows
massive, each has
is is
the fact that both
shown advancing, an unusual development considering the
static quality of Picasso's earlier
works. Manifestly, he was reassessing
the old Classical values of balance and proportion. tivity
his
concern with three-dimensional form. One of
pronounced substance. Perhaps equally important
have no idea whether I'm a great painter,
is
Picasso's Rose Period began
concern; although neither boy nor animal
figures are I'liasso
it
which he retained the pinkness of palette but vastly changed
figures, revealing a fresh
"I
artist; but
saw himself, without undue pathos.
new phase of
of 1905 a
was using
a sense, perhaps, Picasso
symbolize himself and the isolated role of the
clear that he saw these people as he
in
the circus folk seem to be gazing
because they are escaping into a make-believe world where
is
costumes camouflage sorrows. In
them
stand suspended in time and place.
If
A
disciplined objec-
began to replace the allegory and sentiment of the years just past.
show the
and precision of Picasso's Hnc: ahove
is
an old circus jester with a small boy: below
is
a
nude youth on horseback. Both were
preparatory sketches for paintings.
0,
'thcr inllucnces were playing
upon him. notably
the poetry of Guillaume Apollinaire. Born
in the
person atid
Wilhelm de Kostrowitzky,
he was the illegitimate son of a strong-minded Polish adventuress
who
even after he was grown decided the decor of his apartments and kept an eye on his choice of friends. Apollinaire's
moon
face
was incon-
gruously dotted with a tiny Cupids bow mouth, but out of the most brilliant talk in Paris, There were those fraud. But Apollinaire was a born catalyst,
was
to
sweep out old ideas
He and
for
new
in all
the baleau lavoir
verse.
came
his
a
overweening aim
the arts.
known
to be
in
Montmartre
Max
that was to
Rendez-vous
revitalizing
contemporary
sought in their writings to raise subconscious thought
sweep
â&#x20AC;&#x201D; which
as the
Jacob, Picasso began playing
numbers of young poets bent on
Many
to the surface; in this
etry
issued
Picasso met by chance in a Paris bar, and soon the studio in
des Poetes. Through Apollinaire and host to
and
it
who thought him
has
all
they
left
its
mark on most modern poetry
original imagery,
some of
commonplace,
of
all
whit. His printed
set the stage for the Surrealist
movement own po-
the arts two decades later. Apollinaire's
it
it
lyrical.
Classical,
some of
it
â&#x20AC;&#x201D; teemed
exotic,
with
some of
it
Convention deterred Apollinaire not one
poems appeared without punctuation and
set in
un-
orthodox typographical arrangements; a verse about rain dribbled down the page, a verse about love formed the shape of a heart. Picasso
ulti-
mately owed a great debt to Apollinaire for publicizing and thus help-
36
ingto popularize his art; but he was equally benefited by the poet's
in-
sistence on total freedom in esthetic expression.
Another Picasso friend- not admired by
its
members
manner. Jarry's chief claim
antic
to
fame, indeed notoriety, was a play
whose opening obscenities had provoked Entitled
base and ignoble in
a near-riot in a Paris theater.
opus dealt with a king who embodied
Roi. this
i bii
Rendez-vous coterie, but
part of the
— was Alfred Jarry, a man of macabre humor and
human
who was
behavior, yet
that
all
oblivious of his
is
own
monstrosity. Jarry served up his hero's nightmarish deeds without passing judgment, without drawing any moral. This detachment, coupled
with the fantastic imagery, eventually earned Jarry a place
the pan-
in
theon of the Surrealists. Picasso relished his black humor and
glorifi-
cation of horror, and would soon challenge accepted appearances on
canvas as boldly as Jarry had challenged them on the stage.
M.
leanwhile, Picasso's Blue paintings were beginning to find a mar-
ket.
born young German
and bought a
One was Wilhelm Uhde, a wellwho discovered a Picasso work at Pere Soulier's francs. A few evenings later Uhde happened into
Serious collectors were turning up.
for 10
it
Montmartre
cafe, the Lapin Agile. Sitting with
he turned to the
had bought
man on
at Soulier's.
his right
and
The man was
some
and poets,
artists
him about the picture he
told
They chatted
Picasso himself.
awhile, then toward the end of the evening, Picasso abruptly pulled a pistol
from
— carrying a gun was a a shot into the — and
his pocket
learned from Jarry
prankish habit he had
As Uhde recalled
air.
fired
it.
Picasso was simply expressing joy "at having found a fancier of his art."
But his most important new patrons, personally as well as financially,
were Gertrude Stein and her brother Leo. Pennsylvania-born, the
Steins had decided that Paris offered a
mate
— a decision
made
more bracing
feasible by a small
intellectual
cli-
income they enjoyed from
They had settled in an apartment near the Luxembourg Gardens. Leo painted and wrote and had an encyclopedic
their family's investments.
mind, hut he was overshadowed by his
woman
masculine
sister, a short, stocky,
Mlrod Jarrv was a Bohemian
who
with darting eyes and a derisive laugh.
The Steins already owned paintings by Matisse, Renoir, Cezanne work
Picasso's
pmulati'il
liy
eccentric writer
often referred to himself as "we.
.jarry
defied every convention, often dangerously.
and Gauguin when Leo, who prowled ceaselessly through
came upon
An
Picasso and his friends.
in Clovis Sagot's shop.
art galleries,
Some days
later
he
I
le
was fond of earrying a
pistol,
affectation that Picasso adopted, lired
it
past the face of a
an
and once
man who had
merely asked him for "a light." Jarry died
took his sister to look
at
the
(iirl ivilli
painting of an adolescent nude: later
a Banket it
of Flowers, a blue-tuned
would become the
focal point
around which the Steins arranged and rearranged their ever-expanding collection. As Leo later told the story, Picasso was at Sagot's that day and was so struck by Gertrude's powerful appearance that he said Sagot:
"Ask her
if
Shortiv afterward the Steins visited Picasso
at
swept through the studio ap[)raising his work. they bought
is
to
she will pose for me." the Ixilrau laroir and
How many
unrecorded, but then and there they
— more money than
Picasso had ever seen
casso's privation was ended once and for
number
brought him
a
inin luivinr;.
whether
of other patrons,
lh(>v
wauled
at
all.
laid
one time
paintings
out 800 francs in
his
From then on
some of whom Gertrude
lo or iiol.
lile.
I'i-
the Steins bullied
M from tuherculosis that had hecome aggravated hv his get a
cheap high.
haliit
of sifiping ether to
at
—
Soon Picasso and the Steins were exchanging frequent visits flat on the Rue de Fleurus for Saturday soirees and at
Steins"
on weekday afternoons for Gertrude's
so's studio
Day
trait.
part
after
way on
on
teau lavoir
foot.
Picas-
sittings for her por-
to
Montmartre, going
horse-drawn bus and climbing the steep
who had
nande.
The
a
day she traveled across the city
the
at
the ba-
hills to
While Gertrude posed and Picasso painted,
a beautiful voice, read aloud the fables of
Fer-
La Fontaine.
own advantage. made sentences" for
usuallv voluble Gertrude used the time to her
Later she revealed that she had "meditated and
she was writing.
a story
After about 80 or 90 sittings, Picasso one afternoon suddenly erased the face on his easel, grumbling that he could no longer "see" Ger-
He had
trude.
started the portrait while
still
in the Classical
phase of
the Ro.se Period; since then his style had begun to change. But the
change had not yet taken definite form, and the new means of expression for which he
B.
now
was groping
eluded him.
still
Picasso's paintings were even
lard visited the studio
more
in
demand. One day Vol-
and outdid the Steins' munificence by paying the
unprecedented sum of 2.000 francs for 30 canvases. With the windfall Picasso took Fernande to Spain for the summer.
The
portrait of Ger-
trude Stein lay temporarily abandoned. Picasso and Fernande vacationed in Gosol, a village in the Pyrenees accessible only on muleback. There Fernande discovered a
"gay, less wild, more brilliant."
Some
new
Picasso,
of the 900 villagers lived by
smuggling tobacco and cattle across the moimtains between Spain and France, and Picasso listened raptly to their ants, he sketched their horses
tales.
He sketched
the peas-
and cows, he sketched Fernande.
The emergent changes in his work took shape. His lines became more solid; he tried brown and terra cotta colors.
heavier, his figures
Perhaps he was inspired by the simplicity of the
life
around him,
per-
haps by the color of the countryside. But there was another influence besides, in a current vogue for primitive and prehistoric art. This trend Picasso's
and his large,
first
sister
importanl collectors, Leo Stein
had gained impetus from the discovery near Malaga of a cache of pre-
Gertrude, were children of a
Roman
prosperous American Jewish family.
They were well-educated and
well-traveled: in
to
Vienna
the top — taken on a — Gertrude, the youngest child,
at
the far
left.
the photograph
reclines
visit
at
floor.
Below
is
a photograph
Not an altogether
it,
with the elliptical
terseness for which she was to
famous, "For me,
it
is
L
"
chins; symmetrical noses that large, staring eyes; ears that
One
came
directly out of the
eyebrow
line;
were too high by conventional standards.
of his most significant works of that
summer
is
the
(/
oman
with
become
The lessons of Iberian sculpture are evident in the oval shape repeated in the oval loaves of bread of the woman's face and features and in the subject's immobile expression. No pathos, no emotion of any sort, mars the tranquillity of line or mood. The woman's serenity Loaves.
—
—
reflects not
only Picasso's awakened interest in Classical harmonv. but
also his peace of
When
mind among the peasants of Gosol. fall, he took up the
he returned to Paris in the
trude Stein and painted a new head for
new direction since laying is
38
months
flattering
likeness, the picture evidently pleased her;
she was fond of saying of
exhibition at the Louvre a few
the features of this sculpture: severe, regular ovoid faces with narrow
of Gertrude seated before Picasso's 1906 portrait of her.
its
is
Leo, two years her senior,
on the
Iberian sculpture and
before Picasso's vacation. In Gosol he began to adapt to his painting
in
two quite different
it.
portrait of Ger-
Because he had moved
in a
aside the work, the finished canvas (page 66)
styles.
The
parts he had painted
first
— the body
with
its
posed
draped large,
in
and
skirt,
tlie
hands
— are
realistic,
but the face
is
com-
severely simple planes characteristic of Iberian
flat,
sculpture. Yet the eyes are alive and knowing, and the painting captured
the essence of Gertrude Stein, in particular her imposing intellectuality.
The
Iberian effect of the face was startling, however, and friends at
protested that the portrait was no resemblance. Picasso was un-
first
come
daunted. "Never mind," he said. '"She will
to look like that.""
Gertrude herself was pleased. She cherished the painting
Soon afterward Picasso painted on Iberian sculpture. Both
is
a
Bohemian
shows
a
young man throbbing with
old lor his years
More thoroughly
stylized than
Picasso executed in the
fall
all
her
lile.
in part based
earlier painting
and beset by sorrows, the
later
work
vitality.
even
this portrait
a large painting
is
Two Nudes (page
of 1906,
tation of giantesses with faces and limbs
wood, and painted
Whereas the
striking.
shows
52)
and mood the contrast with the
in style
(page 28}
self-portrait of 1901
a self-portrait (jxi^e
rough-hewn
68), a confron-
as
if
from tough
had begun to use
in the terra cotta Picasso
in
Gosol.
But the tranquillity of Gosol had passed. Both figures look as though they were trying to burst out of the confines of the canvas, conveying
an uneasiness and tension. The Yh'o Nudes
not a pretty picture, but
is
Gertrude Stein once tartly observed: '"Every masterpiece has come into the world with a dose of ugliness in creator's struggle to say something
I icasso
was indeed struggling
to
it.
This ugliness
is
a sign of the
new."
say something new. So, for that
matter, were other European artists, and they were searching far afield for ideas.
The vogue
Many
rica.
for the primitive
now centered on
the art of Af-
of Picasso's friends were collecting examples of
Salmon, a member of the Rendez-vous des Poetes, owned a
it;
Andre
fetish,
and
Matisse some statuettes. The vigor of the African esthetic was proving contagious; a
number
of paintings exhibited
at
the Salon
d'Automne of
1905 had flaunted an unexampled violence of color and an uninhibited
freedom of rhythm and style
happened
line.
A bronze statue in 15th Century Italian same room with these works, and
to be displayed in the
the critic Louis Vauxcelles, jesting about the juxtaposition, exclaimed: ''
Donutello au milieu des fauves!"
— Donatello
Into the terminology of art thus
came
the painters of these disturbing pictures
Maurice de Vlaminck. Although as and
artists like
the
it,
the wild beasts! to
— Matisse,
Andre Derain and
Fauvism
lasted only briefly,
a style
Matisse soon dropped
among
word "Fauve," applied
it
left its
Leu
Stciii lioiif;lit his firsl ol
in 1005,
settled in Paris. His
young
artist,
enthusiasm for the
instrumental in setting Picasso on the path to
world fame. Leo was enthusiastic aliout the
works of the Rose Period, when
I'irass,,
painlcd this gouache portrait
liiiii.
raUed
(ailiisni
concerned with color: for
its
own
sake.
brilliant,
opaque and
from
it,
assert-
They were
chiefly
— above — arbitrary, used all
Unabashedly the Fauves colored faces green, bodies
orange, tree trunks red.
More
sors, they declared that art
ertqihatically than
any of their predeces-
must be more and more independent of na-
ture, free of the inhibitions of literal imitation. Picasso never joined the
Fauves, but he shared their liberated
yond the point where they
lei
I
spirit, lie
soon ventured
nl
Iiiil
an "utter alionnnation."
mark.
ing that their art lay in line, form and color per se.
Picassos
his sister
soon shared by Gertrude, was
Like the disciples of Art Nouveau, the Fauves took the representation of nature as a point of departure and then strayed
many
two years after he and
far be-
olV.
39
he
A,a 9
o'clock on the night of February 17. 1901. in the
back room of a Paris wine shop, Picasso's friend Carles
Casagemas shot himself in the
right temple.
The suicide
stunned Picasso. Dogged bv povertv and failure himself, he sank into a deep despair. Somehow, he continued to
The Blue and
The Rose
work. And. reflecting his mood, he began to paint in melancholic, cold tones, predominantlv blue. These pictures
— one a memorial to his dead triend — reveal
Picasso's compassion for the destitute, the blind
lame, the outcasts of Paris societv whose harsh shared. In painting such
the one
and the
lot
he
moving and evocative pictures as
shown at the right, he created a unique personal
style, his first
and perhaps
his best
known. This was
Picasso's Blue Period.
Abruptly, in 1904. Picasso's
changed too. He as his
fell
life
changed and
deeply in love for the
first
mood brightened he adopted a warmer
his art
time, and
palette,
painting tranquil pictures in delicate roseate tones.
Among the most Ivrical and capt iv ating of Picasso's paintings, they are loosely grouped as works of his
Period.
The first of these,
Rose
Not a portrait of an individual but
paintings of circus performers
and their families, radiate a gentle happiness, but
a nearly abstract image of
loneliness and despair, this
later
painting epitomizes Picasso's Blue
ones contain
less
and
less
emotion
until finally his
work
is
Period.
It is
executed almost
— the blue — that
almost completely empty of sentiment. In the end Picasso
entirely in
concentrated on figures and figures alone, a concern with
tinged with cool green
form that presaged radical changes not onlv painting, but also in the course of art
40
itself.
one color
emphasizes the dejected pose. in the style of
7V Absinthe Drinker.
1902
is
Kioralum
<
Tlw Hiiniil ufCasagemrn). 1901
Im
a
bvious tragedy and provocative allegory are freely
mixed
in
some of
The
commemorated the burial of his Casagemas, whose body lies mourned on earth
picture at the friend
Picasso's Blue Period paintings.
while his
left
spirit, riding a
a sky peopled
white horse, moves through
by lush nudes. More enigmatic
is
the
I
,r.
1003
picture above, which inexplicably contains two small pictures of nudes between the large standing figures.
apparently about love love, self-love
It is
â&#x20AC;&#x201D; mother love, sexual love, platonic
and perhaps even more
the unhappiness of love. Painted in
specifically about
monochrome,
it
heralded dozens of such moody, deep-toned pictures.
43
The Old Cmlansl. 1903
H
laving learned
how
to
draw the human
figure with
astounding precision before he was out of his mid-teens, Picasso distorted
it
imaginatively during his Blue Period in
He drew elongated limbs and
fingers, painted
â&#x20AC;&#x201D;
in
the paintings above and
same head serves
44
for
both the
at right virtually
man and
the
paintings of El Greco that Picasso had seen in Madrid artist,
with his customary
sensitivity, deftly modified the device: the gaunt
hand
of the blind old beggar plucks listlessly at his guitar; the
bony, fleshless bodies, and adopted stylized, sexless profiles
hands and arms, were undoubtedly inspired by the
and Toledo. And the voung
order to convey the moral and physical decay of his characters.
of these distortions, especially the unusual stretching of
the
woman. Some
frail
arms of the
pitifully thin
washerwoman agonizingly
transfer her meager weight to the heavv iron.
H
aman
Ir.niin-.
45
I'
â&#x20AC;&#x201D;
H
lands
tell
a watershed
an important story
work
that stands
in the
etching below
between Picasso's Blue and
Rose Periods. Although the man's averted gaze suggests hands warmly embrace his
solitary suffering, his slender
woman.
It
was while working on
this etching that Picasso
met Fernande Olivier, who brought not only companionship but beautv into the artist's
can be sensed
life.
in his paintings.
His new-found elation
He turned
to different
colors, broadening his
warm
narrow blue range
to include ocher,
pink, orange and red. His subject matter changed
even more sharply. In Montmartre he met the members of the
Medrano
and gay
spirit,
Circus. Exhilarated by their agility, courage
Picasso painted
Perhaps the most tender
is
the acrobat and his family are affection that
many
pictures of them.
the one at the right, in which
bound together by an
embraces even the
pet circus
baboon.
The Frugal Repast. 1904
fiui^iO
riic
Fiinulvof Irmlmls
icilh
A fie. 1905
Family of Sail imharufues, 1905
Ih, JrsU
^^arge
pictures
seem
to represent
landmarks
summarizing his previous preoccupations with the picture his
first
at
really big
the
left.
Over 7
canvas and the
with circus themes. Yet a story
is
feet
last
in a
in Picasso's
wide and 7
feet high,
direction for his art. Here Picasso has assembled, as
curtain
one of his
the characters he had
and patriarchal (he also
young
ballerina
is
if
for a
know so well the portrayed a young Jester in come
earliest pieces of sculpture, the
acrobats, a
it
was
Rose Period painting dealing
final
Jester, old. fat
it
absent in this picture, suggesting a
new
call,
work, often
bold gesture. So
to
:
bronze bust above) boy ;
and Harlequin, the circus actor whose
shrewd comments on the action
set
him apart from the
rest.
Curiously, Harlequin wears Picasso's profile. Picasso poses
many
questions in this
he has dressed his figures
summary
in familiar garb,
connects them ambiguous.
Who
is
the
he has
woman
picture, for although left
the story that
seated at the right, for
example? She seems to be a part of the group and yet she
from
it.
Why should
What could
Picasso have given Harlequin his
is
own
apart profile?
this identification signify? All that is certain is that these
characters are from the world of the circus. Standing in a featureless setting, they are treated like the objects in a
still life,
betraying no
emotion, no sentiment. The poet Rainer Maria Rilke described the picture as "a tapestry lost in the universe.
49
III
the midst of his Rose Period,
Picasso had achieved
some
when
artistic
recognition and was beginning to gain a little
financial reward,
very styles that had
Lndyiniha hnn. 1405
was not content
he
left
won him
behind the success.
He
to duplicate himself,
although he undoubtedly could have
made an extremely
successful and
lucrative career by doing so.
The
paintings of 1905 and the following
which are shown here, are among the most innocent and pleasing of year, three of
all
Picasso's works. But despite their
popular appeal their precise subject matter can not be defined. Picasso ruthlessly eliminated specifics
from
>,.-.^*">V.
none of these
his paintmgs. In
pictures,
ImHy
with a
Fan
in particular, is
the viewer told anything about the place the figures inhabit.
A
sense of time
absent no hour, day or season :
is
also
is
indicated. Both are irrelevant, for
Picasso clearly intended to focus attention only on the figures themselves.
Yet these
human
beings lack an identity;
their faces are portrayed without
personality or emotion, and Picasso has
omitted recognizable costumes such as those in his circus paintings. In the end, the viewer
is left
to
examine the forms,
the colors, the shapes on the canvas, and
from them
to
draw
his
own conclusions
and experience his own sensations.
H,i\ uilh a I'ipe. 190.5
Hoy Lniilinaa
llorst: IiÂť()5-I9()6
'^^ 52
The Invention of Cubism
By 1906 the 24-year-old Picasso had achieved
a position that
any
artist
might have envied. A dealer as inHuential as Vollard was his steady
more of
patron, and collectors clamored for
his works. His pictures
brought prices sufficient to satisfy Fernande's craving for expensive perfumes. More rewarding ers.
He was
first
in
his
still
own
was
his standing
and
circle,
Probably no painter was better known Picasso met Matisse er years Picasso
at
his fellow paint-
was growing.
Paris save Henri Matisse.
in
Gertrude Steins one Saturday evening. In
lat-
found him a good friend, but when they met they had
to say to each other, Matisse
little
among
his reputation
was bearded and self-assured, 12
years Picasso's senior; he looked every inch the master. colors and arabesques he favored in painting were a far Picasso's concerns of the
The
violent
remove from
moment. Moreover, the two men were vying,
consciously or not, for pre-eminence in artistic Paris, and they eyed
each other like contenders before a championship bout. Thereafter Matisse frequently
asked mutual acquaintances:
"What
Not even Pablo's closest friends were prepared ing.
No doubt
lor
is
Pablo doing?"
what he was do-
they expected that he would go on mining the rich vein
of the gentle Rose Period paintings. But Picasso has always had too fertile a
mind
to be
content with repetition.
Some time during 1906 he
began work on a painting unlike any he had ever tried the world of art had ever seen. In Picasso\s face
is
severe and
â&#x20AC;&#x201D; and unlike any
the centuries of Western painting
all
there have been only a few works that of and by themselves have
al-
masklike in this self-portrait, painted
when he was
25. His
body
simplified into crude, bulky
i>=
-li^ifics.
He had been
ihe style of
liv
inspired in part
pre-Roman sculptures
tered art's future course.
Among
these
is
Picasso's study of five female
nudes that was eventually entitled Lcs Demoisellps 71
).
Ollen acclaimed as the
"first
achieved a basic breakthrough in
"
truly 20th
art, effectively
(f
h'ianon (pof^e
Century painting,
it
ending the long reign
discovered in Spain and exhibited in
a
the Louvre, and began to develop
new vocabulary, adopting some
"f the characteristics of this pruTiitive art in his portrayals of llii-
human
face and figure.
of the Renaissance, Other artists would or loathe
it,
but they would never escape
learn
from the Demoisellps
it.
Picasso prepared for the painting as intensively as
made
il
lor battle.
He
at least 31 prelitninary sketches, in charcoal, pencil, pastel, water-
oil. He also made sketch upon sketch of the separate figures. He played with and then rejected the notion of inlroducing Iwo clothed
color and SclJI'orlmil. I9f)6
53
women
males, possibly sailors, into the group ol five
When
(jxi^c '(>)
he turned from preparation to painting, he chose a canvas almost
at last
eight feet square
— the
biggest he had used until then; reinforced
made
with a backing of other material; had an outsized stretcher
magnum
Picasso seems to have viewed the Demoiselles as his
How many months 1907 he thought
was shocked
it
he labored on
complete enough
Even
disbelief.
show
to
"You've been trying
to paint
Max
most devoted admirers.
his
Guillaume Apollinaire, found nothing
opus. in
reaction
Jacob and
Leo Stein scoffed:
praise.
to
The
to friends.
it
fit.
some time
not known. But
is
it
to
How
the fourth dimension.
amusing!"
Matisse thought the painting a deliberate mockery of the modern move-
ment
and vowed he would
in art,
'"sink"' Picasso.
one of
German him
his earliest supporters, begging
"Somehow
he expected a
seems
in Paris
One exception
the Demoiselles.
collector
to
was disappointed
called later. "Lhifortunately, he
Hardly a person
Desperate for appro-
Wilhelm Uhde, come and have a look. quicker comprehension from me," Uhde re-
bation. Picasso sent a message to the
to
hope."
in this
have grasped the implications of
was. oddly enough, a fledgling dealer
— Daniel-Henry Kahnweiler, a German-Jewish youth who had only cently been started in business with a
He heard about
father.
Picasso
at
He bought
purchased the painting as
if
the Demoiselles from
the bateau lavoir to see
great work.
to hide
it
I oday, after
gift
all
it.
He
Uhde and promptly recognized
but Picasso rolled it
at
visited
once as a
it
up and put
it
away,
in art, the
shock
provoked.
60 more years of tremors and upheavals
that swept Picasso's friends in the
it
the preliminary studies and would have
itself,
trom the storm of abuse
understand than
re-
of 2.5,000 francs from his
on viewing the Demoiselles
context of the time. These
but conservative; innovation was their daily fuel.
is
less
easy to
men were anything What shook them
was the extent of Picasso's daring. As a declaration of independence
— even for an era familiar with — an extraordinary manifesto. did violence to almost ev-
of existing values, the Demoiselles was
experiment
It
ery precept of Western painting, recent as well as traditional.
Above
all
it
did violence to the
the body to bits
broken glass"
— making the
human
form. Picasso simply smashed
canvas remind one
— then put the pieces together again
critic
of a "field of
in a startling
assem-
blage of angular planes, rounded wedges, facets of every shape. Not
content with this heresy, he further defied anatomical principle by carding ears, placing eyes profile at
at different levels,
dis-
and presenting noses
on faces seen from the front; he distorted one
figure, the
in
nude
lower right, so that her face and back both show. Picasso waged psychological as well as physical war in the Demoi-
selles.
ed,
Had he portrayed only one
complex theme of tive
figure,
however fragmented or
he would have jolted the viewer far
and
a
less.
twist-
But he chose the more
group composition, ignoring conventional perspec-
spatial relationships
and causing
his figures to explode across
the surface of the canvas. Moreover, he gave monster heads to two of his five figures.
These grotesque masks, marked with
frightful slashings,
plainly derive from his interest in African art, even as the faces of the
54
other three figures derive from his studies of Iberian sculpture. What-
human form
ever Picasso's motive for crowning his conception of the with
inhuman heads
two instances, the
in these
unarguable:
effect is
the bizarre intrusion begets a sense of deep tension.
By the use of these ambiguities Picasso struck hard
the long-
at
cherished notion that there must be a certain orderliness and propriety in
human
Manet had attacked
relationships.
— and kindled
similar outrage
— by
same concept
in
1863
juxtaposing two fully clothed
men
this
with a female nude in a contemporary picnic setting in his Dejeuner
But
rilrrhr.
siir
Manets
painting did not,
appearance of natural forms, nor did
at
least,
tamper with the
completely forsake rules of
it
composition and perspective. Picasso demolished perspective. There
is
no depth behind his
figures:
they do not occupy a rational position in rational space. In traditional paintings the viewer has the comfortable feeling of looking through a
window
its
under the
into a logically arranged scene, focusing his glance
artist's careful
guidance.
The
Demoiselles offers no such help. Instead,
distortions of face and figure and placement force the viewer to look
everywhere
Were the
at
once, sorting out his optical impressions as best he can.
would be perplexing enough. But
this all, the viewer's task
same time Picasso
is
at
asking him to abandon his preconceived ideas
of form, to forget natural appearances altogether, to look at the frag-
ments
make up
that
nudes as pure forms
his
In producing the Demoiselles. Picasso for
one of
its
in
themselves.
may have found
inspiration
The very
features in the paintings of two other masters.
casualness of his assembled figures reflects something of the spirit of the nudes in a much-acclaimed
and those
work of 1906 by Matisse, the Joy
an earlier work by Cezanne, the Bathers (page
in
the overall concept of the Demoiselles, this borrowing
— was a
minor matter, subordinate
—
if
70).
of Life.
But
such
to the painting's essential
in
was
it
message:
When
a revolutionary call for wholly fresh perceptions in art.
Picasso
first
spotted this painting
by Henri Rousseau in 1908,
could see of
it
all
that he
was the woman's head
looming above some canvases piled
I icasso
continued to experiment
in
paint
with the Demoiselles
front of that he
and
ures, singly
new ones, flected self.
to
from
in
groups of two or three,
in
the same poses and in
pursue and develop his ideas. He was not a his course
Away from
man
by abuse, but he began to keep his
his easel,
to be de-
art to
it. It
was enough
to
him-
however, he was more gregarious than ever.
On it
was before the work of a master.
seeing the
full
canvas, Picasso bought
immediately- In the decades that
followed,
it
has remained a favorite in his
private collection of
work by other
Every Tuesday evening, protected against the winter cold by an outsized overcoat that dragged at his ankles, he
walked with Fernande
to
theCloserie des Lilas, a Left Bank cafe where Andre Salmon and another poet, Paul Fort, held forth et
Prose." The writers
and they
all
in
at
weekly sessions they called "Vers
the group read aloud from their current works,
told ribald jokes
and traded
caused them to be thrown out.
On
insults, often with a fervor that
other evenings there were dinner
parties in the cellar of Vollard's gallery; the portly Vollard
was as
at-
tentive to his palate as to his art dealings, and he favored Creole cook-
ing and fine wines. Saturday nights were reserved, as a ritual, for the parties given by the Steins. Often Picasso at
the head of a phalanx of
much
would
taller cronies;
stride into the
in
convince him
fig-
room
on such occasions, Ger-
trude later recalled, he remiiiiicd her of a liullfighter entering the ring.
55
artists.
â&#x20AC;&#x201D;
There were also frequent gatherings -more solemn evenings of monologues at the home of Henri Rousseau, a
poetry, songs and small, bent
man
who was
60s
in his
because he had served
Officer,
called the Douanier, or
in the
and unschooled, he had
41, untutored
Customs
Paris tax-collecting system. At retired to paint.
He took
this
endeavor so seriously that he measured his models with a ruler, tran-
them on canvas. Such
scribed the measurements to scale, then recorded
made him
earnestness marked his every deed and inevitably
manv
1908 Picasso bought a Rousseau portrait
In
the butt of
of his friends' practical jokes.
bination gallery and junk shop. Soulier sold
about a dollar
him
telling
Pere Soulier's com-
at
him
to
it
for five francs
solicitously that the canvas
he might be able to paint on
it.
was good and
Picasso had no intention of doing so;
he later said the picture had taken hold of him "with the force of obsession." Rousseau's paintings were marked by dense foliage and dreamlike figures, yet
form.
The
found
irresistible.
it
in their starkness of
remained as simple as a child's
critics ridiculed the simplicity,
They saw
in
it
but Picasso and his friends
a parallel to primitive art, unspoiled
hv Western dogma.
#%nother member of Picasso's circle, and soon Oeorges Braque, a
house painter
fairly
was
Le Havre, had come to Paris on a bicycle in 1900 to
in
be apprenticed to another house painter. art study,
to be vital to him.
recent acquaintance. Braque, the son of a
He had
since turned to serious
and had exhibited with the Fauves. Unlike most of his fellow
painters, he never starved, for his parents sent hiiu a steady allowance;
besides, he had the extraordinary luck to sell first
exhibit in
1907.
A
friend
later
always had a beefsteak in his stomach and some Georges Braque was as bewildered as the others
who
vieyved
it
when he
he undertook the
human
saw Les
first
Demoiselles d' Ax'ijimm. But that
same year
paintings
all six
recalled
froiri his
with envy: "[Braque]
money
in his pocket."
Braque was among the many who had derided the Demoiselles. Yet almost immediately after seeing Picasso's painting,
he began work on his
own Grand
Nil. in
December 1907,
in
which he borrowed Picasso's
a similarly bold distortion of
form. Graiul
\u
idea of sinuiltaneously
(above),
influenced by Picasso's innovations,
importantly an expression of Braque's lyrical interpretation. In his
a mistake lo imitate what
more
is
own
words: "It
one wants
lowing lage
painters, for
fol-
to L'Estaque, a picturesque fishing vil-
on the outskirts of Marseilles that had attracted
is
to create.
showing the nude's face and back. The
summer Braque went
a
Cezanne included. Cezanne was uppermost
number
in
of other
Braque's mind
another reason as well. Since his death the year before, more of
the extraordinary paintings he had produced in his years of seclusion
had begun that
it
to
come
to light. His
dominated the
work was being exhibited so frequently
talk of artistic Paris; the
younger painters were
particularly entranced with his geometric reconstructions of landscape. In a deliberate decision to deal with the
problems of form posed by Ce-
zanne, Braque turned to landscape. In works like Houses at L'Estaque
(page 87 ) he reduced every object he painted to the simplest blocks.
Houses were stripped of all
detail,
even of windows and doorways;
tree-
green planes
elid-
trunks were simple cylinders; foliage consisted of
flat
ed with those of houses.
Returning
to Paris in the fall.
ings to the Salon
them
56
at
Braque submitted
six of these paint-
d'Automne. They were turned down, and he showed
Kahnweiler's gallery instead. According to one story Matisse,
—
who was
a
member
of the jury of the Salon, remarked to the critic Louis
Vauxcelles that Braque's pictures were
full
When
of petits cubes.
Vauxcelles reviewed the pictures he wrote scornfully that Braque had
reduced "everything
— skies, figures and houses — to geometric schemes, when Braque showed
to cubes.''' In the spring, at
more paintings
several
the Salon des Independants, Vauxcelles characterized the
show
as
"Cubist." The word took hold.
one of those
In
new
fateful coincidences of history in
up
idea simultaneously crops
from
his
summer
ly similar to
vacation of 1908 with a
He had
Braque's.
number
spent his holiday
30 miles north of Paris, and there had
was unusual for Picasso. Spanish
which the same
in different places, Picasso
tried his
artists
returned
of paintings striking-
at a
hamlet on the Oise,
hand
at
landscape. This
seldom concerned themselves
with landscape, perhaps because they were discouraged by the mono-
chromatic coloring and the broad sweep of the Spanish countryside. But Picasso, that
everyone
like
was taking a new look
else,
Cezanne, and
at
meant taking up landscape. Like Cezanne, Picasso forswore
detail
and played tricks with perspective. He also distorted the landscape as
human
he had already dislocated the
summer. House
form.
One
of his works of that
Garden, merges the surfaces of the roof, the walls of
in
the house, the sky and the trees;
it
to tell
is difficult
where the grass
ends and the sky begins. While paying homage to Cezanne painting, Picasso also
and the architecture
bowed
to
Rousseau: the foliage
is
in
this
jungle-like,
totally simplified.
summer
Picasso spent the next
A clue
to
how
Picasso arrived at
(Cubist abstractions
with Fernande in Spain, in Horta de
Ebro, the same village to which he had gone with his friend Manuel
drawing above,
in
sketch of a seated
may
which a
man
some
of
tiis
be found in the light, reahstic
underlies the darl<,
cubistic outhne. For clarity, Picasso's
Pallares 10 years earlier to recuperate from scarlet fever.
One decade
had made a decided difference. Picasso had been as poor as the villagers
on
underdrawing has been redrawn ( hrlow )to
show the
figure
from which he started.
now he carried 1,000-peseta notes, stirring great astonishment. He and Fernande stayed at Horta's only inn, the
his previous visit;
local
Hostal del Trompet, so called because the innkeeper's son, the town crier,
blew a trumpet before making announcements.
If the austere Spanish countryside did not lend landscape painting,
it
was made
to order for
itself to traditional
Cubism. Observing the
geometric labyrinth formed by the stucco houses on the tiered Picasso produced his Hill,
lines,
first
hills,
thoroughly Cubist work. In his Houses on a
made way for firm, straight more pronounced than any com-
the jagged effects of the Demoiselles
assembled
in clustered blocks
offset
by a quality
of transparency achieved by thin brushwork, so that they
seem simul-
posed by Cezanne. Yet the solidity of the houses
is
taneously substantial and weightless.
This and other pictures that Picasso painted
what was cal
to be the first of several phases of
Cubism. The subject
to be painted
in
Horta inaugurated
Cubism: so-called Analyti-
was reduced to
its
basic parts
pure geometric solids and planes. These parts were then spread on the
canvas for analysis a laboratory
— like the components of a
table— and looked
at
chemical compound on
from several angles and under vary-
ing conditions of light. For a time, color was essentially limited
monochrome — first browns
or greens, later grays. Picasso
to
may have
57
wanted
avoid the distraction of colors
to
analysis of form.
his
in
Hundreds of miles from Picasso. Braque was spending
much
doing the
and through casual shop
fall,
same path, they agreed
ing the
^
the same kind of painting.
talk discovered that they
mate and so united
in Paris in
were pursu-
to collaborate. This decision
one of the most remarkable associations
annals of
in the
summer
his
hen they met again
produced So
art.
inti-
purpose did thev become that, recalling the ex-
in
perience long afterward. Braque said thev had been like "'roped
moun-
taineers." Picasso jokingly referred to Braque as his "wife," and after
the collaboration ended, as his ""ex-wife." Despite his independent nature, he
was no
bound
less
to the
relationship than Braque.
imagine," he reminisced some 30 years
went
to
""Just
"almost every evening
later,
I
Braque's studio or he came to mine. Each of us had to see
We
what the other had done during the day.
each others
criticized
work. A canvas wasn't finished unless both of us
telt
it
was." Most of
these earlv Cubist works are unsigned on the front: doubts persist to this
day as to which of the two men produced certain paintings.
Personallv. thev apart. ""Picasso
is
made an odd
Spanish and
"As everyone knows,
that
I
pair: their
am
means
a
temperaments were poles
French." Braque said lot
in retrospect.
of differences, but during those
years the differences did not count." Braque was as serene as Picasso
was
volatile, as
reasonable as Picasso was capricious, as unassuming as
Picasso was flamboyant. Braque. however, had his
own
idiosyncrasies.
For years he wore the typical French laborer's square-toed shoes
made
to
â&#x20AC;&#x201D; but
order of beautiful leather and kept polished to a high shine.
also sported the
workingman's blue cotton
shirt,
but
it
He
was always
freshly ironed and modishly accented with a colorful scarf.
He was
This snapshot of Georges Braque was made in his studio in 1910.
On
the wall are
the objects he used in his paintings.
manv
of
Of these
props, which include the concertina he holds.
he later said: "The painter thinks
and colors:
Among
in
forms
in the object lie his poetics."
the extremely limited range of objects that
Braque included
one of those most often
slill lifes.
seen
the mandolin hanging behind him.
six feet tall.
the village in
Well into
Normandy
to
""very handy, his being so
tall.
hang pictures on the top row of that she used the good-natured for
his old age. according to his neighbors
which he had
as a cypress." Gertrude Stein,
in his carefully controlled
Cubist is
in
more
retired,
practical
Without using
mv
he stood
if less
poetic,
a stepladder.
""straight
found
it
he could
studio wall."' She might have added
Braque
hang other men's pictures,
to
though she once bought two Braques she promptly returned them.
Gertrude's friend Alice Toklas. destined to be her lifelong companion
and
alter ego, saw
Braque
in
like
an .American cowboy that she
To Alice. San made him seem so much
a verv special light.
Francisco-born, his genial, independent air felt
fear he understood English. Picasso
she had to watch her tongue for
and Apoilinaire picked up Alice's
characterization and called Braque noire pnrd. This was an expression
they had picked up from reading Les Histoires de Buffalo
"pard
"
or ""pardner" was rendered as
Llthough
mon
Bill, in
which
pnrd.
uncommonlv handsome. Braque was shv
with womeii. Pi-
casso decided that his friend needed a wife and turned matchmaker.
The girl in question was a cousin of Max Jacob, daughter of a cabaret owner in Montmartre. Picasso took Braque and Jacob to rent dress suits, top hats and capes, then led them in making a formal call. The evening got
maker and
58
off to a
good
start, but
before
assistant were roarins drunk,
it
was over
suitor,
match-
and the airFs father threw
them
Undaunted, Picasso introduced Braque
out.
—
1912
in
another
to
who promptly became Braque's model.
celle Lapre.
— Braque
girl,
Mar-
After a few years
and Marcelle were married, and lived happily
to-
gether until his death in 196.3.
knew no such enduring
Picasso and Fernande to rise in
proportion to their prosperity. In the
joy. Discord
fall
on the Boulevard de Clichy with
into a large apartment
cramped quarters
also changed;
it
the bateau lavoir. Their
at
to
down
bed
far
way of
life
There was no more need
on winter afternoons
cozily
was no more need
chill; there
room,
—a
was no longer the day-to-day gamble they had loved
so well in their earliest days together.
them
moved
a living
dining room, bedroom and a separate studio with a north light cry from the
seemed
of 1909 they
for
Fernande
to
to
ward
off the
for
room's
pawn her earrings
to
put together a few francs for food. Picasso took pains to furnish the
new
place with a purple velvet couch, a walnut dining table and a big
brass bedstead; he also decorated statues,
and guitars. He hired
a white apron,
with tapestries, African masks and
it
a maid,
whom
he outfitted with a cap and
and he and Fernande began
to
emulate the Steins and
other well-to-do friends by giving Sunday afternoon receptions. Still,
Picasso grew disagreeable.
more except (actually, he silence,
to
grumble
that he
He seldom spoke
was suffering from
am
in the
now
new
his
Finally he
studio, and rented an-
who had
the balcaii lavoir. Fernande.
years of destitution,
my work."
thinking about
complained that he could not paint at
consumption
had only a smoker's cough); when she remarked on
he would hark: "I
other back
Fernande any
to tatal
stood by him
in his
spent her days alone in the pseudo-grandeur
of the Boulevard de Clichy apartmetit.
When
Q
he made this photograph of
'espite the personal difficulties of the year that followed Picasso
produced a great many works, some of them now landmarks of the Cubist movement.
One was
Picasso's dealer but
still
of Vollard. by then no longer
a portrait
Vollard's face appears as a pro-
his friend.
owner had been
gallery
have been broken; the
lines, instead of fully describing the features
they indicate, follow a logic of their own, forming a gridlike structure. so, the portrait is a
remarkable likeness (page
'•'^^j
which Vol-
in
friends for several
years. Shortly after their
Kahnweiler began
work of Picasso, but
am
that,
"When one
work of a painter, one buys
his work. If I
also that of Braque.
fiercely loyal to his artists.
snp[»orts the
again,
it
comes on the market
prepared to buy
it
support the price, but because
domed forehead, full cheeks and determined mouth emerge distinctly. The subject himself declared that a four-year-old he knew, on lard's
seeing the painting, exclaimed: "(rest
Soon afterward, Picasso portrayed
I
ollnrd!" his
faithful
collector
Wilhelm
Uhde. Although the contours are even more broken than
in Vollard's
faithfully projects an image of
Uhde's high
portrait, the likeness
still
forehead, pursed lips and fastidious as paintings,
and Picasso took note
portrait; inevitably, the
air.
Uhde
collected books as well
oi this in the
books appear as
little
background of the
cubes. Henceforth Picasso
habitually surrounded the people he painted with significant
oddments
of their lives, or accented characteristics which their friends would recognize. As the Cubist style
became more
cryptic,
this
meeting,
and Vlaminck.
Kahnweiler has said
all
first
to exhibit not only the
Gris. Leger. Derain
Always
fusion of small overlapping and intersecting fragments; the contours
Even
art
dealer D.-H. Kahnweiler, Picasso and the
technique
provided the few clues to the subject's identitv.
Braque, meanwhile, was following another lack. During the winter
59
back not to I
like it."
of 1909-1'510 he painted the Pitcher
and
iolin. in
I
which he broke and
distorted the outlines of the violin and other objects, then reassembled
the resulting fragments.
Uhde
Whereas
Picasso's portrayals of Vollard and
are recognizable, Braque's violin would be scarcely detectable
save for the strings, the scroll and the rounded bottom of the instru-
ment. Here was something new: an awakening interest in forms vorced from anv identifiable object. But as
Braque added a strong touch of realism shapes he painted an ordinary
over the forms below
A subsequent
to the
nail, letting
it
di-
to rein in this tendency,
if
work: among his strange
cast a naturalistic
shadow
it.
Kahnweiler by Picasso reflected the move
portrait of
toward abstracting the essence of a subject. Those
who knew
the sitter
well might guess his identity by such clues as the watch chain, the part in
the hair, the heavy eyelids and the large ears. But unlike the faces of
Vollard and Uhde, the face of Kahnweiler, dispersed in an arrav of planes,
no longer recognizable (page 91
is
w
and Braque experimented. Cubism was gaining ad-
'hile Picasso
herents.
).
The works
men were
of both
usually on display at Kahnwei-
lers, and a steady increase in sales reflected a growing acceptance of the
new style by collectors. Among artists, one of the earliest converts to Cubism was Juan Oris, who, like Picasso, was an expatriate Spaniard. Five years younger than Picasso, he lived
at
the bateau lavoir. and
earned a very meager living from the
tially
ini-
cartoons he pro-
satirical
duced for newspapers and magazines.
When
He entered movement at once, joining with Picasso and Braque in evolving a new variation known as Synthetic Cubism. The three men replaced the monochrome of Analytical Cubism with bright colors he turned to painting. Oris made rapid headway.
the Cubist
(pages (J6-99) and also experimented with the use of materials
and paper among them
The aim,
â&#x20AC;&#x201D; that were hitherto foreign to
as Gris explained
it
to
Kahnweiler years
â&#x20AC;&#x201D; sand
painted canvases.
was no
later,
less
than "to create new objects which cannot be compareck with any object in reality."
Picasso and Braque acknowledged the newcomer's contri-
bution, and used
it
to their
own
who was
ends. For a time Gris,
erudite
and rather humorless, insisted on calling Picasso "cher maitre."
ac-
cording him the due respect of a disciple for a master. Picasso soon
squelched the habit, which he found cloying, but turned
account after Gris died
in 1927. "Disciples see
more
it
to graceful
clearly than mas-
ters," he said.
By the spring of 1911 Cubism had taken such hold in Paris that
in artistic circles
the Salon des Independants showed an entire group of
paintings that were unanimously labeled "Cubist" by the press. In studios
all
ploring
around the it,
adapting
city, painters it.
destined to become giants in their brilliant
Staircase,
drian,
were two young
own
right:
was soon
who would
to outrage the public,
men who were
Marcel Duchamp, whose
study of a fragmented figure in motion,
vertical lines.
60
were examining Cubist theory, ex-
Among them
A//f/c
Descending a
and the Dutchman
Piet
Mon-
eventually reduce Cubist geometry to horizontal and
The contagion of Cubism spread abroad, encouraging
radi-
cal
movements born
same
of the
In Italy Futurism glorified the
ireedom of expression.
zest for total
machine and
motion. In England
its
Vorticism borrowed the Cubist practice of showing several views of a subject simultaneously. Elsewhere artists carried
If
â&#x20AC;&#x201D;
Cubism caught
at least in a
Cubism
one of
to
its
pure abstraction.
logical conclusions:
the art world,
fire in
was slower
it
to ignite the public
favorable way. Individual collectors were proudly show-
ing their Braques and Picassos as far afield as
London. But the response of ordinary
New York, Munich and
visitors to Cubist exhibits
likely to be a loud hoot. Reflecting this derision,
one Paris
scribed a work by the Cubist painter Robert Delaunay as "an Eiffel
presumably with an eye
er toppled over,
to
was
critic de-
Tow-
destroying the nearby
houses, which, dancing a cancan, are rudely sticking their chimney pots
windows."
into each other's
The cause had
champions
its
as well.
Andre Salmon and other mem-
come round from
bers of the Rendez-vous des Poetes had
disapproval, and staunchly defended
who took
per articles. So did Apollinaire. to write about
it.
Cubism
most
their early
magazine and newspa-
lessons in painting the better
Eventually several of Apollinaire's articles were pub-
lished as a book, Lcs Peinlres (Aihistcs. resist his
in
flamboyant prose;
efTective propagandist.
wrote penetratingly about naire to write about us as
Years
be Cubism's
to
Braque confessed: "He never
later
I'm afraid we kept encouraging Apolli-
art.
we
Apparently readers could not
any event, he proved
in
did so that our
fore at least part of the public.
"
Asked
names would be kept
to explain
be-
how. then, people
had eventually come to accept Cubist painting, Braque added: "They never comprehended. They endured. That
is
the history of
modern
art."
Picasso began a new romantic alliance
In the summer of 1911
Picasso, Fernande, Braque and Marcelle Lapre
whom
Marcelle Humbert {nhovcj.
vvilli
he
affectionately called Eva, almost immediatelv
spent a vacation together
Though
it
is
on the French side
part of Catalonia.
Picasso
felt
Ceret, a small town
at
very
citizens
Its
much
the mountains, Ceret was originally
still
home
at
of
the Pyrenees.
in
spoke Catalan and consequently
after
Man
is
with a Guitar (page 93)
identical with Picasso's Accordionist (page 92).
Cubism come
most inspired paintings.
the works
So
far
is
virtually
had Analytical
that in the Accordionist, for example, only the folds
and
keys of the instrument and the edge of an armchair are discernible;
even the player's head has disappeared. For Picasso, this was
to be his
farthest foray into abstraction.
Despite the pleasures of collaboration in the sun, he returned to Paris in a restless
mood.
When
night now, he frequently
left
call:
"Her beauty held me, but
One
night, after a bitter row,
he roamed the cafes of Montmartre
Fernande I
at
home. Later he was
could not stand any of her
Fernande walked out of
little
to
at
re-
ways."
his life with 11
francs in her pocket and 40 bottles of perfume in her arms. Picasso
soon had a
less fiery
woman: Marcelle Humbert,
mistress of the painter
Louis Marcoussis and a friend of Fernande's with
been openly
flirting.
He
well. Inr ihcir
death. During that time, he created
it
time that are the most nearly indistinguishable
from one another. Braque's
him. Eva's tender
relationship lasted for three years, until her
his
at this
left
there.
At Ceret both men, of course, busily painted, and
they produced
Fernande Olivier
charm evidently suited Picasso
called her
whom
"Kva," signifying
Picasso had
that she
was the
61
some
of
woman
first
his affections. "I love her very
in
"and
weiler,
i
boy carving
like a
name
shall write her
my
in
on a
his sweetheart's initials
There was more
much," he
told Kahii-
much
pictures." So he did, tree trunk.
however, than romantic whim: the
to this gesture,
idea that letters or words might well serve as an integral part of a paint-
Braque had already
ing.
tried the notion in a
which he had painted
guese,
word "bai,"
ciled the
(the French for "dance")
work otherwise
of the literal in a
work
had painted
in his Pitcher
a particular
meaning;
and
I
â&#x20AC;&#x201D;a
he had sten-
it
jarring intrusion
so undefined. Like the nail that he
the word was intended to convey
iolin.
in this case
The Portu-
called
On
in the spring of 1911.
Braque wanted
conjure up a cafe
to
poster he had seen announcing a local ball.
The
The Porluiiuese had been taken up by other Cubist
lettering in
painters,
and now,
at
another "ma
new love
the outset of his
On one
apt use for the device.
JOI.IK," a refrain
from
"Fernande
When
Cubism.
in
With
a currently popular song.
this dual reference Picasso introduced a kind of
standard practice
Picasso found an
affair,
canvas he inscribed "j'aimk kv a," on
punning
that
became
Gertrude Stein saw the picture she
ma
wonder who
is."
(A few
days later she found out.) Eva's response may have been equally
baffled.
said,
Mn
Jolie
certainly not
is
shows only
jolie.
I
a seated form, barely detectable.
it
Although Picasso
produced several paintings of Eva, as Marcoussis had done, the Cubist style
had arrived
There
I
is
no way
where no traces of naturalism remained.
a point
at
from the pictures what Eva looked
to tell
he use of letters in
\l(i
Jolie
marked a new turning
like.
in
Picasso's
work. He began to restore other reminders of reality to his painting. Braque, whose youthful apprenticeship as a house painter had taught
him how
wood
to simulate
the device of Irompe
grain, marble
and
fabrics,
for example, a violin, or such fragments of
remarkably
his canvas, looked
like real
better, adapting a practice that
it
as he
chose to show on
wood. Picasso went Braque one
he had learned from his father. As
temporary measure, Don Jose used in progress, to try
was currently using
"deception of the eye"), so that,
I'oeil (literally,
a
paper cutouts on a painting
to pin
the effects of different combinations of color and
form. Picasso also put cutouts on his paintings-and
left
them
there,
as integral parts of the work.
One
of his most celebrated efforts,
flects this
new preoccupation,
it is
.SV/7/
Lije with Chair Caning, re-
a small painting, only
10% by 13%
The first surprise about it is that its frame is made of ordinary The painting itself shows a wine glass and a slice of lemon, broken
inches. rope.
into the usual Cubist fragments; the letters "joii," the start of the
"Journal
";
and
conventions well.
a
Irompe Foeil pipestem. These by
in Picasso's circle.
To the canvas Picasso
word
now were accepted
But there was a startling innovation as
affixed a piece of oil cloth that
was
a
ma-
chine-made facsimile of chair caning. Then, compounding the confusion, he painted the cloth, covering
it
with shadows.
Picasso was not being perverse: he was. rather, posing some tantalizing questions about illusion and reality.
looks as real as though
62
it
ought
to be
The caning on the
rough to the touch; yet
oil it
is
cloth fake.
and smooth. The glass and the lemon look '"unreal" because their forms are Cubist; yet because they have been painted, they are "real" aspects
The rope around
of the painting.
cause
it
serves as a frame,
it
the painting
is '"real'"
as rope; but be-
wood carving and therefore func-
suggests
tions as illusion.
The excitement of
with
5/(7/ Life
(page 94), with
C.liiiir ('.niiina
its in-
vention of collage (pasting), led Picasso to further and more complex
new advenwomen, spent the summer of 1912 at north of Avignon. From Picasso's collage, Braque soon
juxtapositions of reality and illusion. Braque shared in the ture.
The two men, with
Sorgues, just
their
came up with the device oi papier colle (collage, per). In Fruit Dish and Glass, he pasted wallpaper paneling onto a painting of a
and other
print, calling cards
life in
still
bits of
specifically with pa-
wood
that simulated
Soon scraps of news-
a cafe.
paper cut into simple geometric
shapes bedecked both painters' canvases.
I ha lat
summer
change was
for
was, in a sense, a watershed in Picasso's
at
hand. In the
A time new
life.
he moved from Montmartre
fall
to a
studio in Montparnasse, across the Seine on the Left Bank. Embarking
on
a
new
life
with Eva, he wanted to change his surroundings. In any
event, Montparnasse was replacing Montmartre
the
as
intellectual
center of Paris.
Cubism, too, was
ferment.
in
Some
of the
newcomers
the belief that they should be able to paint precision
â&#x20AC;&#x201D; organized
to the style
â&#x20AC;&#x201D; in
with full mathematical
it
group called the "Golden Section," after
as a
the term used in the Renaissance to define a certain ideal mathematical proportion. This attempt to codify
"They
founders. Braque recalled:
Cubism
is
like this
start painting
and not
Braques
in
Cubism
did not
started to lay
like that
down
and so on.
sit
well with
was hardly
I
its
how man to
the law about a
accordance with their rules."
Most of the painters of the Golden Section subsequently abandoned Cubism. Picasso, Braque and Gris continued with the synthetic variety they had evolved. Increasingly they used bright and varied colors instead of
monochrome. They put
of early
less stress
on distortions of form; the ob-
began to be identifiable again. The reasoned analysis
jects they painted
Cubism was making room
for personal expression.
Other adjustments awaited Picasso. In 1913 his father died, renewing painful
memories of
their final disagreement.
"small and perfect" Eva
fell ill;
Some months
possibly she had cancer.
By
later the
early 1914
war threatened. The world, Picasso remarked, was "becoming very strange and not exactly reassuring."
On August
2,
1914, war came, and most of Picasso's friends scat-
who was not yet a citizen of France, volunteered for army and was eventually accepted. Kahnweiler, who was still a German citizen, but unwilling to take sides, fled to neutral Switzerland,
tered. Apollinaire,
her
leaving behind the valuable contents of his gallery. Braque and the
Fauve painter Andre Derain, who counted himself
a
Cubist for a
while, were vacationing with Picasso at Avignon
when they were
up by the army. "I took them
Avignon," Picasso
called after the war,
"and
1
to the station at
called re-
never found them again."
63
lew
exerted such broad influence
—
from which the detail opposite d' Avignon
vet
— or
pictures have caused such a sensation
its
was not
to be
among artists as the one
is
taken. Les Demoiselles
pubhcly exhibited for 30 years.
Revolution
on Canvas
quintet of abstracted nudes immediately drew
impassioned, hostile reactions from Picasso's patrons and
from even the most adventuresome of his fellow
who came to
his studio to
study the figures.
artists,
The nudes
proved shocking not because they were prostitutes title
was a take-off on a
because of the wav
in
red-light district in
— the — but
Barcelona
which they were painted. Picasso
broke every rule in the book: the perspective was
flat,
the bodies were fragmented into angular planes of color,
and the faces seemed like barbaric masks. The painting was
a
dynamic and revolutionary refutation of all that
art
had held sacred since the Renaissance. Picasso did not arrive
Even
in his
at this
breakthrough overnight.
Blue and Rose Periods,
when he had
flattened pictorial space and used color for expressive
rather than descriptive purposes, he seemed to be in this direction. But like all revolutions, this
out with a thunderclap. collector
moving
one broke
Great
in this picture: the
merest hnes
define facial features, breasts and
arms:
On seeing the picture, the
economy of means
characterizes Picasso's technique
flat
tones approximating flesh
color delineate the sharp planes
Shchukin wept, "What a loss for French
art l"
In time he and the others were proved wrong. Far from a loss. Les Demoiselles proved to be a step forward, the
that create the body's contours.
Yet there
is
nothing flimsy about
the figures; thev have massive soliditv
and elemental strength.
essential step in the evolution of the 20th Century's
most important
64
artistic style.
Cubism.
Les Demoiselles if Avignon. 1907. detail
I'onraU ofGertrude Slein, 1906
66
Iberian sculpture. Osuna. Spain, detail
I
WO
Western
rebellious Demoiselles. his native Spain
art,
propelled Picasso toward the
One was ancient
Iberians before their conquest by art of primitive
features.
Rome. The other was the
African tribes. Picasso saw both
at large
one of the
influence in
Wooden mask from
is felt.
first
is
dimensions
,.„„,„.
I'lli:
He
frontal planes,
lips to suit
Gertrude's still
in the traditional
modeled
way.
Picasso went on to create two portraits in the Iberian center
and right ), and then
The
to adapt the
bizarre faces below are obviously based
objects like the Itumba ceremonial clear
Gertrude's face, which bears a striking resemblance to
East Central Africa
to suggest three
tribal art.
pictures in which the Iberian
Picasso's assimilation of this style
at left.
II
even more exotic and unfamiliar stylizations of African
and
great strength. His portrait of his friend Gertrude Stein (left) is
flat
Her body and hands, however, are
manner faiot'e,
exhibitions in Paris and was immensely impressed with their simplification of forms, accentuated features
adapted an exaggerated ovoid shape, sharply arched brows and thin
sculpture
— powerful figures carved by the
n
llr,i,i,,l
the stone head from ancient Spain above
strong influences, both largely foreign to
sophisticated
from
Self-Porlmll. 1006. detail
almond shape, hollow
eyes,
mask
at their left:
on an
wedge nose and heavily
striated cheeks betray this kinship.
llnid. IV()(,-I')();
\l.,..l..
67
Vhi.A MV,
Two Nudes. 1906
68
I3lh Century Catalan fresio. detail
In the year or
It
so following his portrait of Gertrude
Stein, Picasso applied
some
iman
patterns create
of the strong stylizations
\Mle
1907
in Ycllou,
flat
areas that suggest volume, and a few
simple zigzags define facial features.
of primitive art to the full figure, creating such
and from African sculpture (below,
monumental
at a
giants as the nudes at the
evidence of Iberian sculpture Gertrude's, are torsos are
still
Following a
is
left.
Here, the
strong: the faces, like
composed of planes and
simplified, the
bulky and massive.
summer trip
particularly medieval Catalan frescoes (above,
pictures (above, center and ri^hl
Funerary
fetish
from West Central Africa
this source
Picasso arrived
kind of shorthand, an abbreviated visual language
by which he could translate the figure onto canvas totally
Tivo
experimented with the style of early Spanish painting,
own
From
left )
new way. No longer
did he play the
game
in a
of
three-dimensional illusion as he had in the torsos of the
to Spain, Picasso also
his
II
)
left).
In
strong, linear
l\iides.
He
stripped forms to basic shapes, chose
color dramatically and adapted other conventions of primitive art
â&#x20AC;&#x201D; slashed ritual markings, for example â&#x20AC;&#x201D; to
define mass.
It
all
came together
in Les Demoiselles.
\ude
wall Dnifirn.
69
I>>()7
y
I
tX
'^^m^^^i^^. Fa\i\
Cezanne: Bathers.
1^
ie§F«
?«»wJts> 'V -^•-a(H»? for Z.es Demoiselles d' Avignon.
I n
Z/CS
Demoiselles d'Avignon, Picasso met head-on what
supreme test
of an artist's skill: unifying a large
is
1907
perhaps the
number of figures. Both
challenged and inspired by Cezanne's great Bathers series (one of which
shown
at
the top above), he
made manv preliminary
studies. At
first
is
he
apparently intended to use allegory to unify his group. In his sketch for the
composition I above), a sailor
sits
amid nudes
in a bordello
surrounded bv
flowers and food; a second sailor enters carrying a skull. But in the final
version (right ) Picasso eliminated narrative and used style alone to relate his
women. And what women they are! Arraved
like
monumental
statues on a
shallow, curtained stage, with their bodies fractured into planes of pale color,
they stare brazenly forth from eves in masklike faces. of their birth, painting would never be the same.
70
From
the
moment
!,,>. I
>rm„i.srllrs,f.lr,/^„<,„. 19(17
72
IV Fame, Success and Marriage
When World War iard
and
still,
I
broke out, Picasso tried to ignore
it.
He was
Span-
a
country was not involved. Although sobered
his native
by his friends" departure for the battlefronts, he clung of gaiety. Alone with Eva
at
memory
to the
Avignon, he painted Cubist pictures that
were almost defiantly exuberant, with elaborate patterns and vivid ors.
He took cognizance
France, a
of fruit, flowers, bottles and playing cards
still life
with colors of carnival the words in its
I
ive la
time of
of the war in just one painting, called
jollity.
â&#x20AC;&#x201D; his gay
Above two crossed French
all
/
col-
ivr la
splashed
flags
appear
pictographic salute to his adopted country
peril.
The war was
less
easy to escape after he returned to Paris in the
of 1914. Picasso found the city shaken by the
German
fall
invasion of
France and particularly by the terrible battle of the Marne,
in
which
men had lost their lives. The front lines lay only 75 miles from Paris, and enemy armies were advancing from the north and east. All France lived in terror that the "Huns" might overrun many thousands
of
the City of Light.
Signs of the war were everywhere.
One evening,
as Picasso strolled
along the Boulevard Raspail with Gertrude Stein, a procession of heavy
guns rolled past en route
to the front.
Both the guns and their carriages
were camouflaged; bold, irregularly shaped streaks In 1912, deeply involved with
Cubism, Picasso became the subjorl
paint cleverly concealed the machines of war.
Cubist, and Picasso was taken aback.
"We
The
ol
brown and green
efl'ect
was strikingly
did that!" he exclaimed.
of this portrait by Juan Gris.
Although younger than Braque and Picasso, the co-founders of Cubism,
Gris added his the style. rigid,
He
own
variations to
reveals these in the
almost mathematical,
During the winter Eva's
interlocking of planes and solid
who remained was Max
forms -cylinders, pyramids, cubes
was
â&#x20AC;&#x201D; with
which he creates the mass
of Picasso's
body and
illness
worsened, and she had
frail.
\<i\2
}'i,rlrna
<,]
moved
to
Jacob, exempt from service because his health
That winter the ascetic
and he decided
to
in
Jacob won out over the bon vivant,
have himself baptized a Catholic. He asked Picasso
to
face.
serve as godfather. Long since detached Juan Gris:
to be
home. For weeks Picasso commuted by metro between her bedside and his apartment in Montparnasse. His loneliness was all the more acute because so many of his friends were away. One of the few
a nursing
I'lihlo I'lmsso.
if
not estranged from his
re-
made fun of his friend's conversion. He suggested name "Fiacre" in honor of the [)atron saint of gar-
ligion, Picasso at first
that Jacob take the
73
â&#x20AC;&#x201D;
deners and taxi drivers (Parisian horse-drawn cabs were called
/(nrrrs).
women:
his pro-
The
jibe
was aimed
posed namesake, gynist
who
at
St.
refused
Jacob's well-known antipathy to
Fiacre, an Irish-born hermit, had been a miso-
women
admittance to his chapel.
Jacob chose instead to be baptized Cyprien. a saint whose name was
one of the many bestowed on Picasso
own baptism: Jacob was
at his
thus paying his godfather a Latin courtesy. At the ceremony Picasso
He gave
played his role gravely.
the
a copy of The Imitation of Christ by it
new convert a suitable devotional, Thomas a Kempis. and inscribed
"To mv brother Cyprien Max Jacob,
in
memory
of his Baptism,
Thursday. 18 February 1915."
I his
event was one of the few pleasant interludes in an otherwise
grim winter. In the prevailing pessimism of Paris, Picasso grew
and
this
mood moved him
to take
dismay of the Cubist painters
another tack
still at
work
in
restless,
Much
in his art.
to the
the city, he turned to
wholly naturalistic drawings. The widespread suspicion that he had betrayed
Cubism and gone conservative bothered him not
He
at all.
be-
lieved then, and throughout his career, that an occasional change of
pace was essential for an
"but to copy oneself
One
of his
first
is
artist.
"To copy others
necessary,'" he said,
is
pathetic."
drawings
in this stvle
was a portrait of
\ ollard, a far
cry from his previous depiction of the dealer in Cubist bits and pieces. Picasso described with exquisite precision the contours and the expression of his sitter's face, the wrinkles of his suit, the fold of his the configuration of his hands. That the likeness prise: Picasso Picasso astonished his friends to
when he began
is
of his friend
Max
Jacob, drew cries of heresy
from some of the hard-nosed theoretical Cubists,
who damned
More sympathetic Picasso
s
all
representational art.
critics,
excellent
is
is
seemed
that he
style of Ingres, the brilliant 19th
tie,
no sur-
had been a superb draftsman since his boyhood.
unusual, however,
draw naturalistically after years of
painting as a Cubist. Sketches like this one.
is
\S
hat
to be consciously imitating the
Century \eo-Classicist who was
re-
nowned for the clarity and meticulousness of his linear portraits. At the same time the \ ollard drawing retained a distinct feeling of Cubism
in
the projection of the figure against a
flat,
schematic background.
however, compared
elegant and sensitive line with that
of the 19th Century master, Ingres.
made him
Iqpk, so Jacob in-
like a Catalan peasant. .ApoUinaire.
on leave from the
Jacob, too. sat for Picasso, and Picasso sisted,
something
front because of a head
Croix de Guerre he had
wound,
won
also posed.
He wore
for bravery in battle,
his uniform, the
and an army cap
perched jauntily over his bandages. In this portrait Picasso restricted himself to line alone, without shading. Yet Apollinaire's face and posture emerge with near-photographic accuracy. Picasso's fellow Cubists need not have taken alarm at his foray into
naturalism. .Along with the drawings he continued to produce Cubist paintings.
him the
And he was soon
to
embark on
a venture that
vened to propel him toward
this venture, for the opportunity
about as a direct result of the tragic ending of his
Eva died was
in the winter of 1915-16.
free of painful
Perhaps hoping to
came
with Eva.
find a place that
to a small
house
in
xMontrouge,
suburb about three miles south of Paris. But the new quarters
even the garden out back-
74
affair
memories, Picasso gave up the Montparnasse apart-
ment he had shared with her and moved in a
would bring
plaudits of another segment of the avant-garde. Fate inter-
failed to salve his spirit.
He made
daily trips
into the city,
sometimes
sometimes
drop
to
by the time he
late that
and he had
to see
Gertrude Stein. Apolliiiaire and
Montparnasse
in at the
left all
to walk the long
means of public transport had shut down
way home. He
liked these nocturnal hikes
and the triumphant sense of being up and about while others
rhythm or
ionship, too, whether they walked in silent
new
friends,
who
compan-
talked.
lived in Arcueil. about three miles
Oc-
slept.
casionally another night owl would join him, and he liked the
these
Jacol).
cafes. Usually he stayed so
One
of
beyond Mont-
rouge, was the composer Erik Satie.
^â&#x20AC;˘atie was
50.
some
15 years Picasso's senior, a
man whose
per-
sonal eccentricities matched the novelty of his music; he regularly
burned holes
in the
corduroy jackets he favored by his blithe habit of
stuffing his lighted pipe into a pocket.
When
played the piano in a cabaret.
To
sustain himself, Satie had
he was 45, his friends Claude De-
bussy and Maurice Ravel, the leading composers of the dav. launched his reputation with concert
short piano works.
audiences by playing and conducting his
A composition
bv Satie put a performer on his
mettle. Just as Apoilinaire omitted punctuation from his poetrv, Satie
dispensed with bar lines and key signatures in his scores. Moreover, he
studded his pieces with impish instructions for their rendition; one passage, for example, was to evoke a sound "like a nightingale with a
toothache." Further taxing the performers resources, Satie inserted this directive into a
work
Emhnons
called
Dcsseches.
which was sup-
posed to portray in music the embryos of three imaginary crustaceans.
Hearing Satie's music was as much an experience as playing least for listeners
used
it,
at
soothing harmonies of Romantic com-
to the
posers. Satie thought such masters as
Wagner and Tchaikovsky pompGuillaume Apoilinaire, writer,
ous and sentimental, and their mellifluous symphonic forms outdated.
To him harmonies were would
isolate
American
jazz,
important than patterns of music.
less
fragments of melody, many
and repeat them
of
monotonous rhythms. The
in
He
them reminiscent of effect
was
art critic
drawings in 1916 while
in Paris
convalescing
from war wounds. This naturalistic likeness honors Apoilinaire the
soldier, clearlv
showing the Croix de Guerre medal on at
once cerebral and childlike;
Satie, in fact,
once expressed an eager-
ness to figure out what kind of music a one-year-old would compose. In his logical yet simplistic
the two
men
just visible
under his garrison cap.
approach, his zest for fragmenting and reassem-
met, Satie was composing the music for a new
production planned by Sergei Diaghilev, the impresario of the celebrated Ballets Russes. The scenario was being written by the poet and bud-
ding playwright Jean Cocteau. The 27-year-old Cocteau was prankish and witty, with a gift for brilliant conversation,
as congenial as Satie.
The
soon persuaded Picasso
feelings
and Picasso found him
were evidently mutual and Cocteau
to join their collaboration
â&#x20AC;&#x201D; as the
designer of
both costumes and sets for the new ballet.
Once work
"A
again, Picasso's Cubist followers disapproved. For a painter to
for the theater struck
dictatorship weighed on
them
Cocteau
later recalled:
Montmartre and Montparnasse. This was
the austere period of Cubism. table
as unseemly.
The
objects which could stand on a cafe
and the Spanish guitar were the only permitted pleasures. To
paint a stage set, particularly for the Russian ballet (those
his
chest and the bandages of his head injury
bling melodies, Satie evolved a music as Cubist as Picasso's art.
When
and
Picasso's close friend, sat for several portrait
young pco-
75
pie
had never heard of Stravinsky) was a crime. The Cafe de
tonde was scandalized when Picasso accepted
mune
my
Ro-
la
proposition." Im-
as always to the opinions of others, Picasso began to sketch out
his preliminary design ideas. In
Cocteau and Satie
to
February of 1917 he went
off with
Rome, where Diaghilev"s company was currently
appearing, for rehearsals of the proposed production.
R
Lome and the
fered
its
ballet
were both foreign worlds
own enchantments.
to Picasso.
Each
of-
alking around the city, sometimes by
\^
moonlight with dancers from Diaghilevs company, he could admire the sculptural and architectural remains of ancient Rome.
them, and of other antiquities he viewed on excursions Pompeii,
may
ballet
sight of
Naples and
was
later to enter.
world was one that he found gaudv and exciting. Along
with the dynamic
Diaghilev and the dancer-choreographer Leonide
Massine, Picasso met the composer Igor Stravinsky, to
The
ultimately have provided the inspiration for a Neo-
classical phase he
The
to
conduct two
ballet
Each man represented pulses of the era.
productions in his
set to his
branch of the
Thev became
The Russian dancers and the
own
who was
in
Rome
revolutionary music.
arts all the vibrant
new im-
fast friends.
ballet orchestra
were w ithout peer, and
Diaghilev's reputation for staging opulent performances was well established.
But he was not one to
rest
content; he waged constant war
against a drv rot of ideas in the settings and scripts of his productions. In the tradition-prone
Cocteau. Satie and Picasso to the
The
dance
â&#x20AC;&#x201D;
world of
all
ballet,
his decision to
engage
revolutionaries in their fields and
new
â&#x20AC;&#x201D; took courage.
collaborators" venture was Parade, a burlesque of a circus that
was a spoof unprecedented
in ballet.
dictionary definition of a parade:
Cocteau took the theme from the
"A comic
a traveling theater to attract a crowd."
act put
The
on
ballet
at
the entrance of
depicted the at-
tempts of three barkers to lure an imaginary crowd into a tent bv staging samples of their attractions outside
A towering
Cubistic costume
overwhelms a male
ballet
all
but
dancer,
who
is
also
carrying scenery on his back. This was one of Picasso's curious inventions for the
avant-garde ballet Parade, whose sets and
costumes he designed. Picasso also painted the curtain (right), making circus poster.
The
it
first-night
look like a huge
audience
applauded the curtain, hissed the
76
ballet.
it.
The theme
of the circus, familiar to Picasso since his Rose paintings,
was natural for him. But
he had
in his earlier portrayals of circus life
now he found himself
painted as an observer;
and an important one. With obvious
member
a
of the troupe,
he entered into the whole
relish
production; he not only painted the curtain and created the costumes for
which he had contracted, but he influenced
script as well.
a basic
change
in the
Cocteau created the new roles of the three barkers be-
cause of some astonishing costumes that Picasso devised.
When aster.
Parade opened
The audience
May
in Paris in
of 1917,
liked Picasso's curtain well
it
proved
enough;
it
to be a dis-
showed
har-
lequins and other circus folk that he resurrected from the Rose Period,
although he portrayed them now
greens and reds, and
in
in a distinctly
gay mood. The curtain was as lighthearted as a circus poster, and as easy to understand.
But the performance
itself
seemed incomprehensible. Accompanied
by a din of wooden clappers that nearly drowned out Satie's music, two of the barkers stomped onstage decked out in startling Cubist structures
â&#x20AC;&#x201D; wood-and-papier-mache boxes that the legs of the
man; the
men
The
inside them.
front of his
were 10 first
feet high, hiding all but
barker represented a French-
costume was painted with Cubist motifs and the
back with a silhouette of shapes suggesting the trees of the boulevards of Paris.
The second barker was an American,
boots and skyscraperlike structure.
The
men under a shroud â&#x20AC;&#x201D; impersonating the
as attested by his
final
cowboy
barker was actually two
front and rear ends of a horse,
as in the old circus routine.
Four other dancers came on next,
tumes of more conventional
fit.
They represented the
in cos-
attractions to be
seen inside the tents; one was a Chinese magician, played by Massine in a garb of vermilion, yellow, black
and white stripes and
com-
spirals. In
parison to the barkers in their towering structures, these dancers in
properly fitting dress looked like puppets.
I.
he plot of Parade was relatively straightforward. Nobody heeds the
Frenchman's plea at
to
come
inside the tent and see the Chinese conjurer
work. So up steps the American to present an American
and white pleated
skirt
who,
in
Cocteaus
ers like movies, imitates Charlie Chaplin a
.
girl in
blazer
script, '"rides a bicycle, quiv.
.
dances a ragtime
.
.
.
buys
Kodak." The American has no better luck than the Frenchman. The
third barker, the horse, presents two acrobats,
Massine's choreography derived batics. Satie's
music, some of
it
its
ideas
human
period,
figure, quiescent
was revived by
their stunts. Still all
their exertion.
from everyday circus acro-
drawn from popular tunes, was
as synco-
Impressed by their he
made many
pated as jazz. Added to the music were the sound effects of the
lithe, disciplined bodies,
delightful drawings like this
pencil-and-crayon sketch, which shows the ballerinas their
costumed
for Lp.s Svlfihidi's.
most popular successes.
wooden
clappers and the stamping of the dancers' feet. Cocteau also intended to
rend the air with the noises of such products of the age as typewrit-
ers, a telegraph transmitter, train whistles
and
sirens, but at the pre-
miere a technical mishap rendered most of these effects unworkable.
When
the curtain
fell
on the prostrate barkers, the enraged audience
broke into cries of "Sa/e.s Baches!" (Filthy Germans!). At any time this
was one of the worst insults a Frenchman could hurl;
wartime
it
was tantamount
during his Cubist
his observations of the
dancers of the Russian ballet companv.
who do
no crowd materializes, and the barkers collapse from
Picasso's interest in the grace and beauty of
the
in
the climate of
to a chari^c that ihis affront to csthetic^s
was
77
one of
â&#x20AC;&#x201D;
a
German-inspired plot to subvert French culture. Cocteau recalled that
and Satie. who were seated out front, were nearly assaulted. "The women had their hatpins out and would probably haye stabbed us to death if it hadnt been for the presence of Apollinaire. who was in uniform, with a great bandage around his head from his wound. One of the kinder comments they overheard was "If I had known it was gohe. Picasso
"
ing to be like this, I'd have brought the children."
Parade was too subtle, too
too disjointed for conventional
satirical,
tastes of the time. Like Cubist painting,
it
made use of the modern and
the commonplace, and balletomanes accustomed to the romantic and the elegant furiously rejected ever. Picassos curtain
music can
still
it.
Parts of Parade have survived, how-
and costumes are now museum
pieces. Satie's
be heard in concert recitals. Massine's choreography
provided a fount of ideas for subsequent ballet masters. Another con-
made bv
tribution to the future was
Apollinaire,
who wrote
the intro-
duction to the program notes. In them he observed that Picasso's de-
and Massine's dances represented
signs for
a
new
spirit
which he coined the word "sur-realisme."
label
was
to be affixed to a
new
art
movement
of super-realism, a decade this
^^ ithin
that, like Parade, fused
the real and the unreal.
I
he ballet produced one unexpected bonus tor Picasso: Olga
member
lova. a
Khokh-
of the corps de ballet. She was not a particularly good
dancer, he recalled in later years, but this was no drawback bv Diaghilev's peculiar criteria: only half his ballerinas had to dance well
the other half had to be born well. Olga met the second criterion: she
was the daughter of a Russian general. She was also beautiful, ambitious,
strong-minded and a stickler for the proprieties. Paradoxically,
the normally unorthodox Picasso found a certain appeal in her conformist attitudes; apparently he had forgotten
how
stifling
he had once
found his own family's middle-class conventions. Before long Olga had replaced Eva as the
woman
in his life.
After Parade closed, Diaghilev took his celona. Picasso went along. This was his
He
visited with his
widowed mother and
company first
to ^ladrid
home
trip
his sister. Lola,
and Bar-
in five years.
and old friends
greeted
him with
number
of draw ings. Inevitably, amid the old haunts and familiar as-
a round of parties.
Between times he turned out
sociations, thev featured bullfight scenes. istic
paintings
â&#x20AC;&#x201D; his
Among the most fine features
When pany
striking
is
He
also
produced some
that style since his
first oils in
a
real-
embrace of Cubism.
a portrait of Olga in a mantilla, showing her
and firmness of character.
the ballet went on to tour Latin America. Olga
to return north with Picasso,
rouge. This arrangement lasted
and moved into
some
left
the comin
Mont-
eight or ten months. But
"Rus-
his
house
sians marry.'" as Diaghilev observed, and in July of 1918 Olga and Pi-
casso were beliefs.
wed
â&#x20AC;&#x201D; in church, despite the
His good friends
Max
Cocteau served as witnesses
The couple moved
at
bridegrooms
than sturdy
the ceremony.
into an apartment
on the Rue La Boetie.
ionable street of apartment houses and art galleries
78
less
Jacob, Guillaume Apollinaire and Jean
ofl
the
a fash-
Champs
Elv-
The
sees.
so's age
place was found for
who had become
them by Paul Rosenberg, dealer in
his
apartment stood next door
man
a
of Picas-
Kahnweiler's absence. The
Rosenberg's gallery. Rosenberg recalls
to
that
whenever he was particularly pleased with some picture he had
just
bought he would rush
balcony and shout "Pic! Pic! Pic!"
to his
come running
Picasso would
to the
bathroom window, lean out and
amine Rosenberg's acquisition. Then he would from
his easel
and Rosenberg would appraise
it
had
widened
his fame,
much money
ex-
work
now
because, de-
income. The failure of Parade had only
a sizable
and the market for
spend as he wished
to
latest
just as informally.
Picasso could afford to live in a plush neighborhood spite the war, he
own
fetch his
his pictures flourished.
â&#x20AC;&#x201D; and
Olga spent
He had
freely.
it
as
She dec-
orated the apartment lavishly and in the latest fashion, with a living
room
white and a bedroom sporting a new fad, twin beds. Floor-
all in
length draperies
hung on the
hung
at
the
windows and handsomely framed pictures and some of Picasso's
walls: Cezannes, Renoirs, Corots
Cubist paintings. Picasso rented a similar apartment on the floor above to
use as a studio. There he kept to his Bohemian habits and usual clutter.
But otherwise, under Olgas influence, he became notably bourgeois.
He took
to
wearing tailored
his buttonhole.
with a gold watch chain attached to
suits,
He groomed
and tucked a hand-
his hair meticulously
kerchief into his breast pocket.
He
also uncomplainingly walked his
wife's Russian wolfhounds.
In just a few
months
entered in 1917, Picasso happily drew
Picasso's happiness was marred by the death of
The staunch champion
Apollinaire.
Stimulated by the ballet circle that he
of Cubism,
weak from the
still
portraits of his
new acquaintances. Shown
above are the mustached Sergei Diaghilev, the Russian ballet's impresario, and Alfred
head wound sustained
November 9 he lay dow crowds were chanting, '" ing his face, Olga, who was at the day of
in a
"Down
From
the spasms cross-
his bedside with Picasso,
with Guillaume," directed
helm of Germany, were meant for several hours, then
coma. In the streets below his win-
has Giiillaiitne!"
^f
thought the cries of
influenza. All through
in battle, fell victim to
for him.
walked home
wondered at
She and Picasso in
if
he
Kaiser Wilsat
with
Seligsberg, a lawyer for millionaire Otto
Kahn, the American patron of the company. Below
is
the composer, Erik Satie.
Picasso designed costumes and sets for four of Diaghilevs balletsâ&#x20AC;&#x201D; and married I
hi'
ballerinas,
Olga Khokhlova.
hiTii
the evening. As they went
through the arcades of the Rue de Rivoli a swirl of of a passing widow across Picasso's face, an
omen
air
blew the
veil
that chilled him.
Before the night was over the telephone rang, bringing the news that
Two
Apollinaire was dead.
War
ended and with
I
I icasso's
days later the Armistice was signed. World
an era closed.
association with the ballet and his marriage to Olga had
ready altered his way of it
it
life.
al-
Apollinaire's death augured further change:
deprived Picasso of one of his most cherished friendships. His old
circle
was breaking up. Jacob was soon
lay brother at the
war with
a
to enter a
monastery, becoming a
Abbey of Saint-Benoit. Braque had returned from the
head wound and temporary blindness, and he was under-
standably irritable.
He scorned
Le High-Life, as the French
Cubism were
civil to
call
Picasso's dalliance with the theater and it.
Although the two founding fathers of
each other, they were never again to be close.
In I9I9 Picasso had a second invitation to
accompany the
Russes, this time for a production to be introduced finally
reached that city nearly 20 years after
first
in
Ballets
London; thus he
setting out
lor
il.
79
one of
Diaghilev was staging The Three-Cornered Hat, a 19th Centurv Span-
attempted seduction of a village
ish novel of a local grandee's
girl.
The
story had already been set to music by Picasso's countryman, the com-
poser Manuel de Falla. Picasso's designs for
il
had none of the drastic
innovations of Parade: instead, he aimed at an evocation of his native land. His curtain featured a bullfight; a backdrop
was painted chiefly
in
ocher and pink. His costumes for the villagers drew on the rhvthmic decorative patterns of the traditional Spanish peasant wagons.
On
open-
ing night he stood in the wings, touching up the dancers" costumes
went onstage. The choreographv was
just before they
the music and the designs, for Massine modeled
as authentic as
it
on Spanish folk
hit as
Parade had been
dances, theyo/a. the farruca and the fandango.
The Three-Cornered Hat was as sensational a a failure.
The English loved
de Falla were wined and dined ever, to
make some
â&#x20AC;&#x201D; of his ballet
Picasso, Olga. Diaghilev, Massine and
it.
over London. Picasso took time, how-
all
exquisite line drawings
â&#x20AC;&#x201D; again in the stvie of Ingres
friends, including a portrait of de Falla, and a double
portrait of Diaghilev
B
'iioved bv the
and Alfred Seligsberg.
London venture,
a lawyer.
rejoicing in a world at last at peace.
Picasso was ripe for an entire series of explorations in art. Back in Paris, he Pirassu
s
is
love, the clown,
nowhere more evident
than in this meticulous portrait of his son Paulo on a donkey.
It
was based on the
photograph above, but
thjf
plump boy,
model as well
(sliprase).
and
his
new
He
dictated.
love, the dancer.
He
painted his old
also painted bathers
by the sea and peasants in the countryside where he and Olga sum-
mered. But he painted them
of ways: with the unerring
in a variety
a
favorite subject for his doting father, often sat as a live
whim
pursued whatever stvle his
remarkable ability to create natural
likenesses
realism of his recent portrait drawings, or with a
mannerism reminiscent
of certain 16th Century Italians, elongating their figures and attenuating their limbs.
Bv 1920
his
work was showing the
rambles amid the ruins of ancient
Rome
nounced Neo-Classicism emerged
manv
in
fruits of his watchful
three years before.
A
pro-
of his paintings, studies of
tranquil figures such as the Seated U onuin
I
page
1
13).
earthv rather
than delicate, and massively conceived.
Nor had Picasso forsaken Cubism.
In 1921 his Cubiet style reached
apogee with two large paintings identicallv called Three Musicians
its
(pages
l()()-llll
his vigor he
).
Both are over
six feet square,
and
in the full
bloom of
produced them over the period of the summer, working
on both pictures simultaneouslv. Both works show a Pierrot, a harlequin and a monk, sitting stiffly in a row.
Both paintings are
complex. They have the but
at
the
The
of depth,
â&#x20AC;&#x201D; brilliantly
familiar Cubist fragments
jigsaw puzzle. Not one piece
all
masked,
all
the same time simple and
playing-card quality of Synthetic Cubism,
same time a sense
juxtaposition of planes white.
flat,
at
is
achieved bv Picassos
skillful
colored, in blue. red. yellow and all
fit
together as precisely as in a
superfluous; each
is
indispensable to
the design.
Cubism were to remain ever after in Picassos work, but movement as a whole was in decline. A special sort of death knell
Vestiges of
the
sounded
for
it
in a
calamitv that befell Picasso's friend and dealer
Kahnweiler. the earlv champion of Les Demoiselles d' Avignon.
When
the Cerman-born Kahnweiler took haven in Switzerland at the start of
I.e iliiih l.ijr-
as thf FrcTich t.-rincl tin-
look up
doings ul their smart set Picasso's time during the
"2()s,
much
when he
ol
tried
to please his socially inclined wife, Olga.
This
photograph shows a few of the "in" group
cui
the chic beach called La Garoupe, in Antdies
on the Riviera. Picasso's
among
out
who
street clothes stand
the exotic costume of the others,
are dressed for one of their frequent
masquerade
parties. Ex-ballerina
on the prow of the canoe
in tutu
Olga poses
and hard-toe
slippers; Picasso's visiting mother, sitting al
the right of her famous son. peers out Irom
undrr the headed Iringe
ol
the war in 1914, the French government seized his gallery as the property of an
turned
enemy
alien
and put the contents
in storage.
Kahnweiler
re-
property but to build
to Paris after the war. not to reclaim his
his business
anew. Although he had remained aloof from any involve-
ment
war and might have merited some consideration on
in the
score, the
government
in
this
1921 decided to dispose of his paintings by
them at public auction. The contents of Kahnweiler's old gallery consisted of some thousand paintings that would command about $100,000,000 today. Even then
selling
they were worth a fortune, for they represented virtually
all
of the
output of the major Cubists; Kahnweiler had been their principal patron.
Kahnweiler protested the
the interests of the Cubists
out that the release of so prices
sale not only in his
own
behalf, but in
and indeed of the government. He pointed
many works would
down, and deprive the
artists of a
glut the market, drive
good deal of money. Oblivious
to the potential value of the treasure in their
bureaucrats stubbornly held to their decision to
hands, the government sell
the entire cache in
four lots over a two-year period.
0.
'n the
day before the sale of the
display. In a
and
artists
first
lot,
the paintings went on
show of moral support, many important
collectors, patrons
turned up, whether or not they had a personal stake
ism or a connection with Kahnweiler. The
affair
in
Cub-
turned into a Donny-
brook. Alice Toklas attended with Gertrude Stein and later reported the particular reaction of the great Matisse. Although neither a Cubist nor a Kahnweiler client, Matisse blistered the art expert
who was
the gov-
ernment's deputy for the occasion, shouting that the
"'artistic
patrimo-
ny of France" was being "robbed." Braque, who had a number
ol
paintings about to go on the block, joined physically in the fray, punching the government's
man
in
the nose
â&#x20AC;&#x201D; and got himself carted off to the
police station by the gendarmes.
8!
her hat.
The atmosphere fully
at
the sale the next day was grim. Kahnweiler dole-
bought up what he could, but that was very
tion had left
him without any money
as the confisca-
little,
to speak of. Generally, the paint-
ings went at rock-bottom prices, as Kahnweiler had lectors
from England and America bought
the Cubist paintings on view today in the
were acquired
in that sale
museums
Col-
predicted.
wholesale
in
lots.
Many
of
of those countries
and the three that followed.
In February of 1921, Picasso and Olga had a son. whom they nickPaulo. With all children Picasso is tender. His own first born
named
him
delighted him; he played with
came
a favorite subject to paint
sometimes playing
his son feeding,
and inevitably the child be-
often,
and draw. Sometimes Picasso showed in
when
his mother's arms, and,
Paulo grew bigger, dressed as a harlequin
The
(slipcase).
serenity of
these pictures offers an interesting contrast to the wistful solitude of the maternal scenes of the Blue and Rose Periods. In the world of art beyond Picasso's door unrest was
sionment
in the
wake of war swept the
other sectors of the population. Nihilism, a denial of
Disillu-
rife.
community
artistic
as
it
did
all
established
all
values, seemed the only answer. What good was a society that had spawned the anguish, the mass murder, the senseless destruction of
war? What good was
The ment
lines,
appeared briefly in Picasso's work in
the one above sometimes hint at figures or
musical instruments but are most often pure
society took the form of a
abhorrence of Zurich
in a cafe in neutral
battle of
nonsense word devised
in
it.
They had launched
Verdun. Poets and painters dressed
cophony of pseudo-jazz. Soon such
Young
on
assaults
40
pages of a sketchbook with these enigmatic ink drawings.
No two
are alike.
were
artistic tradition
poets composed by pulling words
out of a hat and assembling them willy-nilly.
subject. Picasso filled
movement
daubed cardboard
in crazily
used for psychological testing, the viewer
own
their
cutout costumes would shout nonsense verse in unison against a ca-
abstractions. In them, as in the ink blots
find his
move-
the absurdi-
1916, soon after the holocaust of the
repeated throughout Europe.
must
mock
to
world gone mad. The Dadaists had not awaited the end of war
to proclaim their
the mid '20s. Imaginative networks such as
art?
called Dada, itself a
ties of a
Doodle-like designs, composed of dots and
its
artists' initial salvo against
Young
painters, with or
without paint, produced clutters of unrelated objects.
Otherwise preoccupied, Picasso played no part
in the
paroxysms of
Dada. The Dadaists honored him nonetheless. Picasso paintings hung
and a reproduction of one of
his draw-
on the walls of the Zurich
cafe,
ings appeared in the
issue of the inevitable journal the Dadaists
first
published. But essentially Dada was against
ism lay the seeds of
its
demise:
and
all art,
in deriding the old
in this negativ-
forms of
art
it
of-
fered no substitutes. Its major legacy was an invitation to see art, like life, in
terms not of immutable laws but of constant and unpredictable
change. Henceforth
who
all
young
rebels
who wrote
painted on plastic rather than on canvas,
verse that did not scan,
owed
a debt to Dada.
Dada's successor movement. Surrealism, was, like Dada. lated
tives to the traditions they disdained. In art they
whole new
set of
ian probes of
articu-
proposed
to
add a
terms to the existing vocabulary, stimulated by Freud-
man's secret mind.
The way was paved by Andre Breton, Picasso's, and author of the SiirrmlisI
82
first
by poets. But unlike the Dadaists the Surrealists offered alterna-
a
voung poet and
Mdnifrslu.
With
a
Iriend of
few fellow
poets. Breton conducted a series of experiments in "automatic" writing.
Breton and company would take pen thoughts, and
in
hand, try to banish
conscious
all
the unconscious flow onto the paper in the form of
let
words, sentences, and images of every kind. The value of the result, they argued, was that
They
it
was
a
pure expression of an inner
also explored the world of
St.
Anthony and
his
par-
Hieronymus Bosch, including
ticularly attracted by the paintings of
Irmpldlion of
state.
dreams and fantasy. They were Garden
of Delights. In these
his
works.
Surrealist artists insisted, Bosch had painted in 16th Century religious
terms the same moral nightmares that needed to be
More
laid
bare in the 20th.
came from the works of Odilon Redon, the Century French Symbolist who had painted strange worlds in recent inspiration
10th
which massive Cyclops' heads
above the sea and winged cen-
floated
taurs shot arrows at the sun.
I icasso
admired Breton and much
of
his philosophy.
He shared
the
Surrealists' conviction that large sources ot subject matter waited to
be tapped in art. But Surrealism offered
little
of a formal pictorial stvle. and Picasso never
that
was new
became
in the
way
mem-
a full-fledged
ber of the movement.
became
In a sense, however, he
magazine La Revolution
its
mentor. In July ot 192.5 the
which Breton edited, reproduced
Surreali.'ile.
several of Picasso's works, along with a glowing critique.
works was Les Demoiselles since Picasso painted
it
(T Avifinon.
Among
reproduced for the
these
first
time
18 years before. In the same issue Breton
re-
produced a brand-new Picasso painting, The Three Dancers (page 119), and used
it
to illustrate a
fundamental Surrealist tenet that "beauty "
must be convulsive or cease
Yet the painting represented trine:
it
was the harbinger of
his inventive
throw
his
far
a
more than
new
style in Picasso's art, unleashing
Difficult
though
it
may seem on
first
glance
continuing experimentation with the
figure, in
even more daring forms than
lie
had created during his Cubist period, led
in
1929 to this startling lithograph.
a salute to Surrealist doc-
powers as never before. Picasso did not altogether over-
former guidelines.
t'icasso's
luiman
to be.
series of imaginative
the seashore, ball-like
it
One
of a
forms based on bathers
pictures a
head and arms
woman
with a
like steel girders,
stretching in the sun outside her cabana.
to detect, an element of Classicism remains in the arrangement of the
dancers: the theme of dancing figures in semicircular array goes back as far as the vases of
ancient Attica. Moreover, Picasso retained a feature
of his earlier Cubist days in an imitation of collage. In the dancer on the left,
fragments of the body look as though they were made of swatches
of patterned fabric and cut with a pinking shears; actually, they are
What is new. however, is the nature of Picasso's attack upon human form. The attack he had perpetrated in the Demoiselles was
painted.
the
savage. But by comparison with the figures in The Three Dancers the
nudes
No
in
the Demoiselles seem models of academic decorum.
longer
is
Picasso content merely to dislodge an ear or up-end an
eye or shatter an arm. This time breasts become eyes, limbs are unrelated
and torturously stretched or twisted, substance and shadow are
interchangeable.
Any resemblance
to
incidental. Picasso's Dancers are not oid.
Of the three
figures, the
known anatomy seems purely cohuman; they are, at best, human-
most extraordinary
is
the one at the
left.
What passes for a head appears to be in double profile, with two noses. One nose is u|)tunH'd, llie other extends downward like an clcphanl's
83
at
What
trunk, seeming to function also as an arm.
appears to be an eye
between the noses, over another feature that may be a mouth, a
lies
The grotesque mask
breast or another eye.
that Picasso had set
the nude at the extreme right in the Demoiselles
mask. His dancer, however,
that
would populate Picasso's canvases
The Three Dancers offered
upon
least identifiable
a sheer monster, a herald of
as a
is
is at
many
in the years ahead.
day for the young sages of Sur-
a field
realism. Its double images could be interpreted as an expression of the
Freudian concern with
split personalitv. Its
form could be hailed as
contempt
a deft jibe at the frailties
may
ventional society. Picasso
or
mav
these messages. But artistically the work Demoiselles. In even stronger terms
it
for conventional
and
failures of con-
not have intended to convey is
as historic a statement as the
proclaims that the
artist
need
not imitate natural forms; he can. and indeed he should, create his
own. The Three Dancers aptlv summed up Picasso's conviction that "nature and
art are
two different things. Through
conception ot what nature
Ls
is
we express our
art
not."
the 1920s wore on, Picasso intensified his interest in the total
metamorphosis of the human form. Paintings and drawings came from stint. He was nearing 50, and could well have rested He had none of the economic pressures to produce that had
hand without
his
on
his oars.
marked the lean years lacked
at the
bateau laroir. Life with Olga and Paulo
material comfort.
little in
Picasso was a familiar figure at
smart
Summers away from
set.
idle rich:
1927
at
With
first
his wife in chic attire at his side,
nights and at the fancy balls of the
Paris were spent at playgrounds of the
Cannes on the Riviera, the next two summers
at
the
fashionable bathing resort of Dinard in Brittany. There the Picassos
occupied a large Looking
like a radar
antenna, this geometric
sculpture was actually a model for a giant
construction based loosely on the form. Picasso late '20s.
a
made
it
human
from iron wire
in the
one of several ideas he suggested as
monument
to
Guillaume
.Apollinaire.
Lnfortunately, the group of Apollinaire's friends all
who were
villa built in
Art
Nouveau
style,
and Paulo had an
English governess.
For
all
these pleasures, Picasso's output was unremitting. Frequent
escape into the solitude of creativity was as essential as a fresh intake of
air,
and
and as bracing. His work continued
versatilitv.
he followed
it
Having embarked upon
down
a
to
bespeak enormous vigor
a quest for
metamorphic forms,
dozen different avenues.
financing the project found
of Picasso's ideas unsuitable,
memorial was never completed.
and the
His observations on the beach
Cannes produced
at
a series of char-
coal drawings of giant figures like strange rock formations: yet they
have a look of
life,
sea. Despite their
Picasso endows
them
as
if
huge
they were primordial creatures oozed out of the size
them with
and their
total lack of recognizable features,
a certain droll
as bathers on a beach
â&#x20AC;&#x201D; one
charm; playfully he shows
turns the key in her cabana door.
metamorphic types subsequently emerged
Different
One
in
pen-and-ink
version had a peglike head and arms and legs
drawings and
in oils.
like paddles,
imparting a distinct impression of mobility. Another was
more
static, a
purely geometric construction with a triangle or a pointed
oval for a head, rectangles and circles for torso, and stick-straight lines for limbs.
Picasso also created a
amalgam of human bones and
new kind of monster
vises
â&#x20AC;&#x201D;a
chilling
and various other instruments;
the paintings of this series belong to his so-called Bone Period.
Of all
84
the forms that flowed from his fertile
mind during
this period,
one of the most
appeared
baffling
chair (page 120).
A semblance
painting called
in a
human head
of a
W oinan
in
an Arm-
inclines atop a sem-
blance of a torso with dislocated breasts. But what mystifies most
about this curious blob
is its
profusion of overlapping limbs, instantly
remindful of the tentacles of an octopus. arms, which are painting's title
I redictably, field
legs,
—
all this
of these limbs are
legs of the chair in the
remains Picasso's secret.
Picasso's newest exploration of form led
of sculpture.
20 years
Which
and which indeed are the
He was by no means
earlier, while in the Classical
untried in this
him
art.
into
the
More than
phase of the Rose Period, he had
fashioned the head of Fernande Olivier, the head of a jester with pointed cap, a young female nude and a toreador's mask. Modeled in plaster
— Vollard later had them cast
in
bronze
— these studies in three-dimen-
sions were naturalistic and so effectively executed that for a time Pi-
may have considered concentrating on
casso
hand
at
it
again during the
first
He tried One of
sculpture.
his
flush of the Cubist style.
sculptures of that time was a bronze
his
W oman's Head (page 90).
which the surfaces are sharply broken into
in
facets.
Art in the round could well describe Picasso^s
But after two decades, and with the emergence of his metamorphic forms, Picasso saw a sculpture.
He began by
new kind
of challenge to his inventiveness in
translating into three dimensions the images of
work
in the early '30s
when he produced
pictures and sculpture like those above and
below so
full
of swirls and billowing lines that
he seemed to translate everything into
the romping metamorphic giants he had sketched in charcoal at Cannes;
curves. During that period he was in fact
he modeled them in clay or plaster and later had them cast in bronze.
concentrating his attention on the curves
Then
for a while he rejected traditional
methods and materials. He
be-
gan to work with iron: rods, from which he made diagrammatic constructions
much
like
doodles; and
outsize three-dimensional
metal, which he turned into abstract
human heads and
times embellished with Cubist designs
in
guitars,
sheet
of the
human
face and figure
doing, he retained the essence of the forms, yet presented
them
in a distinctive
some-
black and white paint.
As the projects grew more complex, Picasso drew on the help of an old Spanish friend living in Paris, Julio Gonzalez, a sculptor a
who was
also
master metalsmith. Under the guidance of Gonzalez he produced a
number
of abstract pieces in which bars and sheets of iron were welded
together. In other pieces that
would inspire the practitioners of Pop Art
three decades later, Picasso jovially assembled iron scraps pot lids, sieves, bolts, screws,
myself once more as happy as Picasso at his
made
this
work, he was
— springs,
pokers— much as he had put together un-
expected pieces of newspaper and rope I
was
in
in his collage paintings. "I find
1908," he remarked to Gonzalez.
comment some time during less so in his private life.
1931. If he was happy
That year he bought a
small 17th Century chateau, with gray stone walls and a slate roof, set in a
wooded area near Boisgeloup,
a village
northwest of Paris. The
chateau was handsomely appointed, and across
its
courtyard stood a
row of stables that Picasso converted into studios. Despite his new role as a
man
of property, Picasso was assailed by a
sense of impermanence. Marriage to Olga was beginning to
pall.
Beyond
Boisgeloup, the world was heading for disaster. Friends recall that even
when he was
at
the work he loved, Picasso seemed possessed by
great inner rage. Before long he in the
meantime, he was
some
would channel that rage onto canvas;
to find respite in a
new
and
exaggerating their natural aspects. In so
inspiration.
8.5
way.
w,
heii the revolution
A World
foreshadowed by Picasso's
painting, Les Demoiselles d'Avignon, broke out in full
force in 1908, Picasso was joined at the forefront bv
Georges Braque. Although Braque the daring picture,
it
fall
of that year,
their separate
Cubes
Little
when
the two
summer working trips,
they met and compared their works. startled to find
was shocked by
had evidently made a deep
impression on him. In the
menreturned from
at first
in
them extraordinarily
And they were similar.
They had
simultaneously invented a new style of painting
â&#x20AC;&#x201D; Cubism.
Cubism grappled with the age-old problem of how
to
reduce the three-dimensional natural world to an irrevocably two-dimensional canvas. Picasso's and
Braque's early Cubist paintings, such as the one
showed forms essentially as simple, geometric Gradually they began to
slice
nature into paper-thin
planes, each with one aspect of reality a
at right,
solids.
embossed on
name on a calling card, and to spread those
it,
like
planes out on
the canvas so that cumulatively they would add up to the desired result.
They also
limited their color almost
Reduced
to the elemental form.s of
geometry, this landscape and the few others exhibited with
it.
exclusively to browns, grays and greens, believing that the
inspired the noted French critic
essence of painting was form.
Louis Vauxcelles to deride them as
Armed
with this analytical rationale, Picasso and
Braque began
a
unique five-year collaboration. In time,
they were joined by other adventurous
artists,
most
notably Picasso's fellow-Spaniard Juan Gris. This fraternity
86
became the
influential Cubist
movement.
composed of nothing but "cubes." Even Matisse found only cubes."
"petils
The name, although
simplistic,
became
a
Georges Braque: Honors L'Eslniiuc.
1908
catchword.
nl
87
^^ikea
family tree, these three pictures can be used to trace the
evolution of Cubism. At the
Century master Chardin.
left,
It is
below,
objects are lovingly rendered to appear as
Beside
it
is
a
still life
Cezanne has taken
a
is
still life
if
seen through a window.
by Cezanne, painted more than a century
liberties with nature, trying to
more than he could
by the 18th
a meticulous illusion, in which the
see through a window.
He has
later.
show the viewer tipped the plane of
the table forward to reveal objects that would normally be concealed In llioM- in the ihiiii lull lo life
foreground and painted things not so
reveal their essences. At the right
is
much
representing objects with a stricter eye to their basic
88
Thr
kiuhm
Tuhle.c. 1728-1730
lurriis iiiid
the table even closer to the surface of the canvas in order to
force the viewer to recognize that his art
/.(;/(.
still
by Picasso. He has taken Cezanne's ideas a step farther
tilting
J.B.S. Chardin; 6((ÂŤ
to imitate
an early Cubist
is
limited to two dimensions.
Paul Cezanne
:
Slill l.ifr: jufi
nf Milk uiul hmil. 1888-
18Q<)
iniii
89
nuh. 1908-1009
0,
'nee the Cubist style had been defined, everything
became
grist for its mill
— landscape,
portraiture. Picasso's friends his geometrical dissections
still life
became the
when they
and
willing victims of
sat for
him.
Fernande Olivier, his mistress and therefore his most available model, saw her face reduced to sharp-edged
planes in one of the earliest pieces of Cubist sculpture (left).
When
Fernande was translated
on canvas (below,
left)sA\
to
two-dimensions
the details of her face were
presented simultaneously, creating an unflattering, but
uniquely revealing composite image. Cubist portraiture never totally obliterated the f)ersonalities of its subjects. Indeed. Picasso's portraits of
the prominent Paris art dealers Ambroise \ oUard (below, right
)
Bind
Daniel-Henry Kahnweiler f n^/;/; preserve their
subjects" identities with remarkable precision. \ oUard's
domed
head, protruding jaw and ruddy complexion
only touch of
warm color
in
— the
an otherwise muted picture
— combine with a forceful mien to transmit a strong feeling of his character. Kahnweiler can be identified in his rather H
rmnn
s
more
abstract portrait by the loops of his
watch chain, aquiline nose and carefully parted
Hmti. 1909
hair.
^«t*3if*
lunraUull-.'n,.,n.lr.
90
Porlmilol
imhn.isi-
i
iillnrd.
19(19-1910
.-:/
D.-H. Kahnuciki,
.',
I:
FÂŤÂť.>v*
Accordionist. 1911
B
'v 191
1,
Picasso and Braque had worked so closely
shown on apart. Even the
Braque
as a kind of marriage.
Thev were
in
each other
s
together that their pictures, two of which are
studios daily, trading ideas and discussing techniques. For
these pages, are almost impossible to
a
artists
tell
themselves had some difficulty in identifying several
of them later. Picasso has described his relationship with
92
few vears thev even vacationed together. .And although
here Picasso's work (above)
is
signed, the two
periodically stopped signing their
men also
names on the fronts of
.
their canvases during this period, as evidence of their
complete and
selfless
dedication to a
common
goal.
At about this time their work also became increasingly abstract, so that
it
was often almost impossible to discern
the subjects. Both paintings
shown
here, for example, are
Braqu,.
of seated musicians, but the only identifying clues are subtle in
â&#x20AC;&#x201D; a few
cleflike scrolls suggesting the
arms of chairs
both pictures, a row of parallel lines like guitar frets
at
the right center of Braque"s picture, and a few accordion pleats in the
same area on
Picasso's.
93
-^,
/^
0â&#x20AC;&#x17E;
'nly four years after
become
its
birth.
a sterile exercise. Picasso
to the point of almost
Cubism threatened
complete abstraction
called "collage" bv pasting
to
and Braque had taken
it
in 1911. but
then they retrenched and began to introduce more
on
his
canvas a piece of oil
cloth printed to look like chair caning.
question of what
is
To pose
"real"' in the picture
obvious reminders of the real world into their paintings.
painter's illusion to a commercial illusion.
order
took the form of words or
letters. In the picture
still
not,
And
in
further to enforce this question, he framed his
above, the letters "jou" are part oiLe Journal, a French
painting with rope, imitating the
newspaper. Here. Picasso also invented a new technique
w ood and plaster gilded frame.
94
is
he painted shadows across the fake chair caning, adding a
This
first
the
and what
common decorative
Georges Braque: Musiml Farms (with ihe words Fete nnd Journ). 1913
//
1912 Life iiilh Chair Cnning.
Braque and Gris also contributed and reality by adding words
illusion
to this interplay of
to their canvases
by imitating the textures of wood and fabrics, and by pasting real scraps of paper, principally newspaper and
(right),
wallpaper, to their partly painted pictures. At the right, below, Gris made a pun on the whole technique by pasting
onto his canvas a newspaper headline
faux" (The True and the
"i.K vrai i;t
lk
False).
â&#x20AC;&#x17E;an
(;ris:
.SV,7/
Life:
The Table. 1914
PortmUofa Young
Girl.
1914
)
w,
ith
the invention of collage and papier colle (the technique of pasting scraps of
paper onto a canvas). Cubism took an important step that gave
it
new
life. If
Picasso,
Braque and Gris had insisted upon painting basically monochromatic dissections of form, they probably would have reached a dead end even with the addition of the pasting processes.
The
visual jokes
and puns of those techniques could only have had
a limited application in formal painting. But in the next few years they began to add
color to their paintings again and in a joyous burst of relief they reintroduced
textures as well. Picasso's brilliantly decorative Portrait of a positively exults in a profusion of illusionary textures
commercial printed papers are imitated
Young
still life
command
(below), he
(
left
— subtle colors and suggestive shapes. The
outline of the girl's body resembles that most familiar Cubist object
Braque's
Girl
— some dozen different — the guitar. In
shows a dislocated guitar and other objects with a sure
of form and in bold patterns of dense colors that reveal his sober, balanced
hand. In the years to come, Braque would continue to mine the resources of Cubist still life
with great
skill. Still life
also preoccupied Gris, as his picture
an the following
pages will testify. There, in a wonderful interplay of space and illusion, Gris shows a
book and a guitar lying on
a table in front of a shuttered
window through which
snow-capped mountain range can be seen. But Gris has brought the outside mirroring the contours of the range
in
in
a
by
the bottom edge of the guitar and duplicating
the peak of the mountain in the upper angle of the table.
Georges Firaque:
Tlir lllark Pedestal
Tutde
(
Lr
97
(,urri,l„n
\„i,
).
I«)l<)
JvtK
</;i-,
GOU
Thrrc UusKiam, 1921
^^ike Family oj Saltimhanqiu's and
Les Demoiselles d' A vignon. Picasso's Three
Musicians (shown here in the two versions that he produced simultaneously)
summing
represents a
up.
The
pictures reflect his long involvement with
Cubism and
look forward to the deft manipulations of form and color that would occupy
him throughout
his career. Here, in a retrospective glance,
earlier period reappear: Harlequin, the
two figures from an
diamond-suited figure playing a guitar
in the
picture at right and a violin (above), and Pierrot, the white-costumed clown
who
plays a recorder in both pictures.
to sing
from
a sheet of
A shaggy dog, whose dark shadow wall (right),
is
third figure
is
a
masked monk, who appears
is
projected on the background and left-hand
missing from the other version. Dazzling color has returned to
Picasso's palette here; triangles
The
music (right) and who holds a concertina (above).
it
dances across the surface on a jigsaw puzzle of circles,
and rectangles. And mood has returned as well; a nocturnal eeriness
pervades these pictures and a sense of fantasy
is
strong. In this mature Cubist work,
the introduction of fantasy and dream point the way to Picasso's future.
100
Ihrn' \lusâ&#x20AC;&#x17E;m,i^.
101
I'll'l
102
V Years of Trial
After 14 years, Picasso's marriage to Olga was plainly headed for the rocks.
They could no longer
ment and
taste;
gloss over their differences in tempera-
open clashes erupted between mercurial husband and
strong-willed wife. Picasso decided that Olga had no real interest in his
seemed almost obsessively
painting; her attentions ladder.
on the
fixed
Once amused by her ambitions, he now found them
"She asked too much of me," he
social
intolerable.
said long afterward.
Olga's regard for the proprieties kept her side of the story untold, but a few intelligent guesses can be ventured. Picasso's to "live like a
to cling to
poor
Bohemia
man
She had
a
was bound
it
more concrete cause
for
to outrage his
annoyance
in
conventional wife.
any event:
winter of 1931, the sensuous figure and features of an
woman
in the
unknown young
suddenly burst across Picasso's canvases.
His new model girl,
desire was
midst of luxury had a certain perverse charm
in the
in theory, in practice
avowed
with a great deal of money." While this urge
â&#x20AC;&#x201D; and
â&#x20AC;&#x201D; was
also his mistress
Marie-Therese Walter,
whom
a 21-year-old
German
he had met simply by engaging her in
conversation on the street outside a Paris department store. She was as different
from Olga as possible. Olga was
a petite brunette; Marie-
Therese was a big blonde. She was as earthy as Olga was patrician, as indolent as Olga was energetic, as easygoing as Olga was tight-lipped.
Curiously, she shared Olga's apathy toward art; her only
siasm was for sports. Picasso seemed difference to his this startling
111
and evocative
portrait, Picasso has
own
hidden his
profile in a picture
frame
hehind the grotesque abstract laughing face of his subject. This juxtaposition of the tranquil
and the violent was an almost
failing
work and
,
.llmdwilhSrlJ-l'iirlrml. \92<)
known enthu-
the more enchanted by her
in-
and he throve under her un-
good humor. Marie-Therese was not one
ment, she would greet him no
past the
to put a halter
promised hour
less affably.
at
on a
her apart-
"Eh Pablo," she would
say, "you're late, as usual."
Marie-Therese's arrival on the scene inspired an entire series of paintings of which she
the eyes of a lover at rest,
It
his celebrity,
man. Whenever he turned up long
compulsive preoccupation of Picasso's in the late 20s and 30s.
all
mouth
is
the subject, seen frankly and lustily through
more than twice her age. Most of the pictures show her
with her head folded in her arms, her body voluptuous, her inviting, her eyes gently candid or serenely quiet
and sometimes
103
—
closed as fair hair
Girl Before a Mirror artist
to
pay forthright tribute to her
All the paintings
in sleep.
if
and skin and ample proportions. Picasso's own
had paused
(page 123).
in the
is full
The
favorite.
of subtle complexities, as
if
the
midst of his enjovment of immediate pleasures
ponder the outcome for the future.
theme
Picasso's
— a woman looking
her reflection
at
— had impressive
Both Titian and Rubens had painted a nude Venus
artistic credentials.
contemplation of her mirrored charms. Manet had modernized
in rapt
the theme, showing a
woman
is
apparent but paint
and what
woman
contemporary dress. But while Manet's
in
image has dissolved so that nothing
naturalistic, her mirror itself; this
invokes the old puzzle of what
on Manet's idea of producing an im-
illusion. Picasso built
is
is
real
is
age that unrealistically reflects the figure before the mirror, but each of Picasso's figures in fact, a
studv in
is
The
older, with a dark aura
is
a stance that flaunts her nakedness.
Picasso used a whole spectrum of vivid colors yellow, purple, green and orange lines,
much
— and
set
— among
them
others, red,
off with thick black
windows
as a medieval craftsman leaded the stained-glass
of a Gothic cathedral. This
bv Picasso, but
same
efi'ect
had appeared
in recent still lifes
use in the dual portrait of Marie-Therese
its
present,
front of the mirror looks
girl in
and childlike; the image
relatively innocent
and sultry gaze and
Thev
as real, or as illusory, as the other.
split personality.
may have
been meant to conjure up the notion of a latter-day Madonna. The impression
the
girl
is
strengthened by the noticeably protruding bellies of both
and the image. In
him
its
B
'v
Maya
gift
of
completion, Marie-Therese was to bear
a child, a fair-haired daughter they
called
had the
this sense Picasso's painting
prophecy: three years after
named Maria Concepcion and
for short.
any conventional standards, 7he
with the Mirror. Picasso
such norm should
Mirror hardly
Before a
Girl
meets the norm of beauty established by
prototype, Titian's
its
I
eiuis
was always impatient with the idea that any
exist. Christian
Zervos,
who
painstakingly catalogued
Picasso's works, once raised the question with
him and drew an
irate
answer. "The beauties of the Parthenon, the \ enuses. the \vmphs, the Narcissuses, are so
many
lies," said Picasso.
"Art
is
not the application
of a canon of beauty, but what the instinct and the brain can conceive Marie-Therese Walter, the serene young
woman who
inspired
much
of Picasso's
happier work in the 1930s, poses here with
pigeons that the artist gave her not long after they met.
Always a source of pleasure
and a happy reminder of his boyhood days in
Spain, the pigeons were a most appropriate
gift to
Marie-Therese, whose calm, unruffled
nature soothed the artist during the breakup of his marriage to Olga.
independently of that canon.
When you
love a
don't take
Looking back over these early years of Picasso's involvement with Marie-Therese, one of his biographers observed that Picasso had taken her on a trip "through the successive stages of his
evoke her supple eroticism, he
glorified her not
art.
onlv
Ever eager to
"
in
paint but in
sculpture and etchings. In the studios at Boisgeloup where he worked in the
1932
summer
of
— high-ceilinged coach houses had become sculpture workshops
Picasso worked
intensively
robust three dimensions.
at
rendering Marie-Therese in
He made
a
number
body, her head and bust, and her head alone. sive works,
104
woman you
instruments to measure her body, you love her with your desires."
some of them
six feet high
all
her
of plaster studies of her
Many
of the heads
— were later cast
— mas-
in bronze.
The
Mvthological monsters appear thruughoiil Picasso's collection of graphic works entitled
the
(
olltird Suite,
named
after
Ambroise
Vollard. the publisher and art dealer
who
commissioned the book's 100 pictures. This grotesque creature griffin
Like
is
an amalgam of a female
and a Minotaur (half-man,
many
of Picasso's monsters,
half-bull). it
appears
both menacing and harmless. Here, the children seem to be
more curious about the
beast than fearful of
first
heads were Classical, showing Marie-Therese
in a
mood
it.
of repose,
with idealized yet recognizable features, including her remarkable highbridged nose. Later heads were less simply executed and somewhat
metamorphic. with a receding forehead, jutting nose and elongated neck.
On some
facto;
of these heads the eyes bulge out as
on others the eyes are
if
affixed ex post
incised, slitlike.
Picasso's greatest single testament to his love for Marie-There.se,
however, appeared
The Srulplor^s
in a sei-ies of etchings called
Siiidio.
For several years he had been under contract to supply illustrations for Vollard,
who had
long before added a publishing venture to his
activities as a picture dealer.
Over
a
10-year period ending in 1937,
some
Picasso was to turn out 100 engravings and etchings for Vollard, single works, others sets, together
making up what
is
now known
as the
— 46
plates
Vollard Suite. The Sculptor's Studio was one of the sets in all.
Of these Picasso produced 40
about six weeks
in
in the spring
of 1933, and the remaining six the following year.
X
he special challenges of etching technique had long intrigued
casso; the dexterity and precision of line
it
youth. In the past he had experimented with the ally; once,
Pi-
required had been his since
medium only
occasion-
during the Rose Period, he had turned out a series of 14
etchings of harlequins and other circus characters
— an effort
mainly
in-
tended to earn him a few badly needed francs. Now, in the prime of his career and at the height of his liaison with Marie-Therese, he con-
ceived the idea of his love affair clarity
summing up both phases
and simplicity of etched
The 46 scenes
— were
who
Sometimes they stand, sometimes they is
— his
art
and
— done with utmost delicacy
the stunning result.
bearded sculptor and his statuesque model,
touch; their unity
life
would employ the
line.
o{ The Sculptor's Studio
Neo-Classical style
ers.
of his
— in a single allegorical sequence that
lie
The protagonists
in
are a
are also obviously lov-
together, always they
seemingly complete. Yet they never look directly
105
â&#x20AC;&#x201D;
at
each other; their glances, sometimes solemn, sometimes anxious,
turn toward a third presence: the sculptor's work.
may
the sculpture
horse, or a bull bearing a girl across
ence,
it
back.
its
an intrusion into the lovers"
is
From scene
scene
to
be a horse, two horses gamboling, a bull attacking a
Whatever the
third pres-
and perhaps an augury
idyll,
that they will never find true peace together.
.Another sequence in the greatest work.
I
way
ollard Suite paved the
These etchings featured
for Picasso's
mythol-
a minotaur, in Classical
ogy a monstrous creature, half bull and half man, who periodically
devoured seven maidens and seven youths sent him
new symbols
Surrealists, searching for
had
hit
upon the minotaur
violence of the
modern
as a
symbol of human
age. Picasso
human
say that the brutishness of
to express the
society
The
of the 1930s,
and the
bestiality
amended the symbolism;
as
if
to
was as mindless as the
made the minotaur innocent
forces of nature, he
as tribute. ills
in his destructiveness.
Picasso's etchings take the minotaur through a series of encounters
with humankind: artists and their models, the spectators
bull-
a
at
fishermen, children. Despite the minotaur's overwhelming pow-
fight,
muscular bodv and
er, his
a gentle look.
his
Sometimes he
is
menacing horns, playful,
Sometimes he wounds them, but he appears
with.
Toward the end of the stricken state, he
is
series the
at his
most
have
his eyes often
and nuzzles the people he to
minotaur becomes blind. In
bestial
is
do so unwittingly. this
and most terrifying.
Picasso soon expanded on the theme in an unusually large etching 19'2
by 27'A inches
â&#x20AC;&#x201D; entitled
Minotnuromachy, the "war of the mino-
taur" (page 134). In this work the monster, sprung from the sea, reaches his
menacing arm toward
bouquet and Jaime Sabartes, Picasso's oldest and closest friend,
shown above
in a
1943 photograph,
has been a willing subject for the artist since
was he
their youth in Barcelona. Bui never
quite the
many
same subject
Some
.At
over his
shown on the opposite
the top, Sabartes peers wistfully tall
beer glass. Below, he
The two lower drawings
cast
Sabartes in the role of a 16th Century
Spanish cavalier and of a mythical pipe-playing satyr.
On
a ladder, fleeing for his life. sill;
who
fearlessly greets
him with
man
Above her two women lean on
a
climbs
window
a
they are intent on watching two doves, and are oblivious to both
the minotaur and the danger of the child. Between the child and the
minotaur
a
woman
in
matador dress, wounded by the minotaur,
dying from a horse he has gored and disemboweled. The dying
slips
impotently clutches her sword,
minotaur. The
human
its
tip
pointed
futilel)*
woman
away from the
attributes of strength and frailty, gentleness and
an elegant
is
gentleman with a mustache and steel-rimmed spectacles.
a little girl,
candle to light his way. Behind the child a
of the
guises and styles in which Picasso
depicted his amigo are page.
twice.
a
brutality, courage
and
fear,
indifference and innocence are
all
here,
and Picasso has pitted one against another with dramatic urgency. The horrors foreseen in the Minotauromachv were soon to become a reality,
and Picasso's masterpiece. Guernica, would record them for history.
this last picture, Picasso has
written Sabartes'
first
name
in Latin
and
the place where he drew the portrait in Greek .\ntipolis
is
Antibes, on the Riviera.
In
the
summer
had done so
in
of 1935. Picasso stayed in Paris
30 years. Although he was ordinarily
â&#x20AC;&#x201D; the a
first
time he
poor correspond-
now wrote to his old friend Sabartes in Spain: "I am alone You can imagine what has happened and what is waiting for me." He and Olga had finally parted; she had gone off with their son Paulo, leaving him alone on the Rue La Boetie. Marie-Therese
ent, he
in the house.
and her infant daughter lived
and Picasso
visited
them
in
an apartment elsewhere
regularly. Little
in
Paris,
Maya had Marie-Therese's
blonde hair, blue eyes and good health, and signs of her father's Spanish
106
temperament. She delighted him as Paulo had. Sabartes was
to
new chapter
record of this
in
ing diapers
â&#x20AC;&#x201D; that,
at least,
"one day,
Picasso's parenthood that
being absolutely determined to do something different, he
wash-
set to
had nothing whatsoever to do with his pre-
vious occupations." Picasso talked with lawyers; evidently he thought of divorcing Olga and marrying Marie-Therese. But Spain does not
recognize divorce, and Picasso did not wish to give up his Spanish citizenship, so he did not pursue the matter.
He began
to feel at loose ends,
and
in
the
went
fall
to the
chateau
Boisgeloup. In his unaccustomed solitude there he undertook a
at
â&#x20AC;&#x201D; writing poetry. Perhaps he was reaching out for a new
pursuit
expression to compensate for the upheaval in his
to
in his pocket.
keep this a secret, but somehow word reached Barcelona and
He
tried to
his
mother, who wrote him: "They
anything of you.
If
one day they
me that you write. I can believe me that you say Mass, shall be-
tell
tell
I
same."
just the
it
of
and he took
notebook he carried
jotting Surrealistic verse in a small
lieve
life,
new
form
He was unbearably
lonely, and at last he wrote Sabartes asking that
he come to Paris and share his apartment. Sabartes not only came; he lived with Picasso or nearby for years, and faithfully served as secretary, watchdog,
companion and confidant.
Sabartes found the spacious apartment on the
Rue La Boetie
a
jum-
unanswered mail and assorted oddments. Picasso would
ble of canvases,
never discard or even disturb whatever accumulated around him. "I cannot explain your mania for keeping things," Sabartes
said,
sidering you are an innovator by temperament." Picasso
"Why of
should you want
coming
it
to
it
It
was written
into French.
The
Surrealists
One poem
it
aloud
his listeners par-
was spontaneous and unselfconwas
it
full
of original
begins:
"give wrench twist and lick
he read
among
scious, unfettered by rules of grammar or form; yet
and
the favor
and with his encouragement
in Spanish, but
ticularly approved. Picasso's poetry
imagery.
me
throw away what has done
his poetry to Sabartes,
to others.
and translated
me
my hands?"
showed
I icasso
showed
into
"con-
protested:
kill
embrace and watch
I
I
make
rnv
way
and burn caress
set alight
ring at full peal the bells
." .
.
Several of Picasso's poems appeared during the winter of 1935-1936 in the influential
magazine Cnhiers d\4rt.
Despite his new pride of authorship and the
company
of Sabartes
and other friends, Picasso could not keep from brooding over the impasse in his private
life.
He sank
into a state of despair. His caprices
hardened into habits, and bursts of temper grew more explosive. He had always been cranky about visitors when he was working;
now he might
refuse to see anyone at any time for any reason, and Sabartes was at
the door to send callers away. Picasso had always been careless of promises;
now they meant
nothing. Vollard often had to wait
months
for en-
gravings he had contracted for, and so did buyers for paintings. Most of Picasso's friends detected a change in him; once his vitality,
now he seemed
to be in a
overwhelming
in
coma. 1946
107
Sabartes later recalled that during this period Picasso "refused to set foot in his studio.
The mere
sight of his pictures
and drawings ex-
asperated him, for every one of them recalled something of his recent past
and every memory was an unhappy one." Gertrude Stein added
that Picasso "ceased to paint in 1935. In fact he ceased to paint during
two years and he neither painted nor drew. ...
It
was very curious."
Her statement was picked up and
retold as gospel, but
Although Picasso was
mood, he never ceased
in a sullen
it
was not true. to paint. Be-
tween 1935 and 1937 he produced a great many portraits of MarieTherese
â&#x20AC;&#x201D; but
did not even
I
or
Ins
all
he never offered them for
show them
isolation.
sale,
and for several years he
anyone.
to
made one important new friend: Paul They had met casually at the end of World see a good deal of each other. In the coming
Picasso
Eluard. the Surrealist poet.
War
I,
but
now began
to
years they would communicate even
deeply
in silent
gloom
when
Picasso buried himself so
that he shut out the rest of the world.
As always when forging by producing his portrait
a friendship, Picasso paid tribute to Eluard
â&#x20AC;&#x201D;
in this case
with a pencil drawing of spare
lines that realistically depict the poet's high forehead
Some months verse, in
In
1036 Picasso mixed his styles in making
illiislrations for a
book of
surrealist verse
While the poet
wrillen by Paul Eluard.
watched. Picasso marked off a copper plate Into four parts
and drew a head of Nusch,
F^luard's wife (al the I'iclied a
upper
left).
Next to
it
he
mysterious, half-hieroglyphic scene,
and hciow that he added his mistress, Vlaru'-'rherese,
napping out of doors. In the
fourth quarter the book right
hand and pressed
looks like his ol
which was not used
in
Picasso playfully inked his
left
it
on the
own
plate. (It
hand because the printing
an etr-hing reverses
its
108
image.)
later,
and pensive look.
he made several etchings for a book of Eluard's
which he depicted the poet's wife, Nusch,
a
woman watching
a
sunburst and the sleeping head of Marie-Therese. The two friends
subsequently worked together on other books, Eluard writing the poetry
and Picasso engraving the
illustrations.
Eluard, in turn, was to serve Picasso well. Like the poet Apollinaire
before him, he sounded the praises of Picasso's art far and wide. In the
— the — organized a
spring of 1936, a group of young Spanish painters and poets
Amigos de
las
New
Artes Nuevas (PViends of the
retrospective Picasso show, the
first in
Arts)
his native land since a brief dis-
1901. Wishing to oblige his
play of his early works in Barcelona in
number of paintings still in his possession to add to those lent by collectors. He took a great deal of trouble over details of mailing and insurance that he ordinarily neglected. He did not,
countrymen, Picasso sent
a
however, attend the exhibition, which appeared
in
and Bilbao. Eluard went as his deputy and lectured
There were also three shows of Picasso's work year
Barcelona, Madrid at
in
the opening. Paris early that
— an exhibit of his drawings, another of his sculptures, and another
of his paintings.
The
shown
paintings were
Paul Rosenberg's gallery,
at
next door to Picasso's apartment. Picasso found himself besieged with curiosity-seekers
who
to catch sight of
him through
discovered, as Rosenberg had. that
To escape the prying eyes
his
Picasso went off to Juan-les-Pins on the
Riviera. Although he had gone loves, this
was easy
it
bathroom window.
off"
freely
on vacations with
was one of the few times he ever openly spent
his earlier
a holiday with
Marie-Therese. Seeking anonymity, he asked Sabartes to forward his
name
mail in the
of "Pablo Ruiz." But Picasso was restless, and after
about eight weeks returned to Paris.
He
set to
work
to fulfill a long-due
promise to VoUard to provide illustrations for a new edition of the
Comte de
Buff'on's Histoire l\aturelle,
an 18th Century tome that de-
Dora Maar. shown ill
lierr rclaxiiif;
1937 on the beach
at
wilh Pirasso
GoH'e-Juan, a
town near Mougins. was the fourth six
women
important to his
life.
Ku
irra
ol llie
Like the others
she served as a stimulus to his art,
spite its outdated
zoological information has remained a classic of
Choosing the birds and animals that appealed
him
French
literature.
among
the species mentioned in Buffon's work, Picasso produced 31
aquatints in
all,
delicate
the printer Roger Lacouriere,
whom
insatiable
m
the late "305
and early
"405.
curiosity,
shop of
Vollard had engaged, traveling up
the steep hills of Montmartre to the environs of his his
appearing frequently as the subiect of portraits
and minutely observed.
In the course of the project he journeyed every day to the
With
to
Picasso
plied
first
home
Lacouriere's
in Paris.
crew
of
printers with questions about the technical processes they used. To-
gether they completed the aquatints
at
the rate of one a day although
the book itself was not published until after Vollard's death in 1939.
w.
ith
the completion of this work, Picasso returned to the south,
this time to
his wife.
Mougins, to spend the
One day
at
met a black-haired, green-eyed
some months
before.
rest of the
luncheon with girl to
summer
a friend at
whom
with Eluard and
nearby
St.
Tropez, he
Eluard had introduced him
Her name was Dora Maar, and she was
intelligent,
vivacious and aristocratic. Her father, a Yugoslavian architect, had
taken the family to live in Argentina, so she had the advantage of being able to converse with Picasso in his
own
language. At
St.
Tropez,
Picasso took her for a walk after lunch, then asked her to return to
Mougins with him -which she
did.
109
â&#x20AC;&#x201D;
Dora's
appearance
first
work was a witty drawing
Picasso's
in
obviously a play on the difference in their ages dressed for a
bearded old
woman"
trip,
man
â&#x20AC;&#x201D; which
shows
her,
opening a door and finding herself face-to-face with a holding a dog in his
in Picasso's life.
Dora became the new
lap.
For the next decade she was
to
"first
dominate
his
pictures as her predecessors had done. Marie-Therese continued, as
always, to exist in the background.
The encounter with Dora
Picasso from his torpor. If his per-
lifted
sonal affairs improved, however, events elsewhere took a turn for the
worse. Spain was torn by civil war. Picasso, his native land after
I
I
30 years away from
he .^[)anish goveriinu'iil
ot
it.
tinif.
tlic
strongly attached to
still
could not remain unmoved.
the Second Kepublic. repre-
sented the second phase of a struggling democracy that had supplanted the centuries-old at best
monarchy
1931.
in
tenuous, and the country
Its
itself
hold on the reins of power was
remained essentially feudal
character. Spain lagged far behind the rest of
nomically.
Many
peasants subsisted abominably; they tilled tiny plots
on large estates and were subject was
lords. Industry
was virtually a
in
Western Europe eco-
still
in its
to eviction at the
infancy; where
w
ill
of their land-
existed, the
it
worker
landowners and parvenu industrialists
serf. Aristocratic
had the support of the Church and the army, and together these four
aimed
influential blocs
to perpetuate their
The Second Republic had come
own
interests.
into being with the help of profes-
sionals and middle-class people like Picasso's parents. But they had failed to
make
function effectively. Desperately needed agrarian and
it
industrial reforms waited while the Republic's supporters splintered
one of the issues
into factions; in
centralized rule, others for local
ther beset by anarchists
Quatre Gats
at
much
at stake,
some clamored
for strong
autonomy. The government was
known
those Picasso had
like
fur-
Els
at
the turn of the century. Very few reforms could be ef-
fected. Peasants,
workers and intellectuals remained unsatisfied, and
the Republic grew weaker.
Discontent had mounted for
1936 brought
in a so-called
five years.
Now
elections in February
Popular Front government, composed not
only of Republicans, but of Communists. Socialists, and even anarchists.
Although
this
government instituted some reforms, the people
wanted more radical measures. A
series of
work stoppages spread
through Madrid's industrial plants: by July, Spain's major suffered
some 300
strikes.
Riots followed the strikes.
cities
had
Homes were
sacked, monasteries and churches were burned; prisoners were turned loose from
jails,
and newspaper publications were severely curtailed
each faction vented
On
July 13 a conservative
assassinated.
upon
A
member
small band of
this incident as
government and
its
as
its hostilities.
army
an excuse
of the
the Parliament, was
C'orles.
officers in
Spanish Morocco seized
to revolt against the
projected reforms.
Popular Front
The insurrection spread
to garri-
sons in Spain, and the rebels in uniform were joined by police and right-wingers.
The government,
fought hark, and within a
110
fevs
loval
davs
civ
il
soldiers
and
trade
unionists
war raged across Spain.
By October the Rebel Madrid, and was
\riii\
had
siege hi
laid
in control ol nearly
was Generalissimo Francisco Franco,
hall a
man
lidxcrnriienl
llie
the covnilry.
n\
in
leader
lis
with a talent lor keeping
his political opinions to himself, and, consequently, a brilliant record of
advancement
at
the hands of the old monarchist government. Franco
had been the youngest nel,
ca[)tain. the
and the youngest general
age of 43, he proclaimed himself try
where he ruled
youngest major, the youngest colo-
the Spanish
in
Army. On October
1, at
the
Head of State. In the area of the coun-
â&#x20AC;&#x201D; "Nationalist""
Spain
â&#x20AC;&#x201D; he
halted such meager re-
forms as the Second Ht^puhlic had gol under way, squashed the opposition of intellectuals
and the protests
ol
peasants and workers and
installed a military dictatorship.
Franco's coup d"etat was possil)le because the Loyalist governtneni
was weak and public opinion divided. But the very division of senlinieni nourished and sustained resistance, and the
civil
war raged on. While
the democracies stood on the sidelines, Nazi (Germany and Fascist Italy put bombs, planes and plied
arms
half of
^^ver
men
Franco's disposal; the Soviet Union sup-
at
and recjuired
to the Re[)ublicans
one per cent of their monthly wages
since his youth
mentaries on social and
magazine Arte Joven
in
its
workers
Picasso had offered his
human Madrid
among them
ills-
donate one
to
to the cause.
own
com-
artistic
his cartoons for the
people of
in 1901, his poverty-stricken
the Blue Period paintings, and more recently his ominous Minotaur series.
But he had always kept alool Irom politics as such. Now, how-
ever, because ol his abiding affection tor .S[)ain and his sympathies lor
the ordinary man, he could not be indifferent.
Recognizing Picasso's international stature, the Amigos de
Nuevas persuaded the Republican government, beleaguered to
name him
this
director in ahsciitia of the great Prado
las
in
Artes
Madrid,
Museum. Although
was obviously a propaganda move, Picasso accepted
in
order to em-
phasize his support of the Republic. But fighting, bombing and arson
soon made the city an inferno, and the Prado's masterpieces had to be removed to safety. "So
I
am
director of an
emptv museum."
Picasso said bitterly.
He had
a personal as well as an ideological concern in the war. In
Barcelona a convent was his
mother
set ablaze
next door to the apartment where
lived with his sister. Lola,
now widowed, and
Lola's five
children. Senora Ruiz and her daughter and grandchildren were un-
harmed but
for
weeks afterward smoke and the odor of burned
flesh
permeated their apartment. Picasso gave tirelessly to the Republican cause.
He
sold
several
paintings he had been keeping for himself, then turned over the
they brought for Spanish relief purposes. pocket; one relief
official
He
money
also gave cash out ol his
estimated that Picasso had given a tolal
ol
400,000 francs to feed the hungry, additional sums to enable a variety of Spanish
intellectuals to
generous private
pursue their work, and numerous and
gifts to individuals.
His most memorable service to He[)ul)li(an Spain was year that followed,
when he painted
his
to
come
in the
masterwork Cuenuca.
Ill
Inthespringof 1917. Picasso traveled
to
Rometo
Goddesses
design the sets and costumes for Jean Cocteau"s ballet
Parade, which w as being produced bv Sergei Diaghile\ the .
Rome and the came as a breath of fresh air to the artist. While there he met his first wife, Olga Khokhlova, a dancer. And great impresario of the Ballets Russes.
ballet
after nine years of almost complete
immersion
he turned again to painting and drawing the realistically.
in
and Grotesques
Cubism
human
Some of these works are delicate and
figure
Ivrical.
In others, perhaps inspired by the dramatic architecture,
overwhelming monuments and colossal sculptures of
Rome, Picasso began to breed on canvas a weighty, statuesque race of people
like
the casuallv draped, seated
ladvat the right.
For a few years these gentle forms occupied him. But then, in 1925, his
demonize the
mood changed again. He began to
figure,
manipulating the
human form into
exaggerated, angulardistortions with bestial features.
Was it Sigmund
Freud's startling views of t he hidden
scenes of men's minds that caused the change
â&#x20AC;&#x201D; views that
revolutionized contemporary thought and inspired
Surrealism as an art form? depressed Europe?
Was it
increasing tension in a
Was it the anticipated breakup of his
Her
face devoid of emotion, her
enormous body rooted
to ttie earth.
Picasso's gigantic seated is
a
symbol of universal
woman
fertility.
Her massive, chiseled features
marriage to Olga? Probably all these causes and
more
interacted. But Picasso
sensitive to change. art
112
was
his
manv
was alert, keenly observant,
During this period, as alwavs.
own response to the world around him.
reflect
the artist's interest
in Classical
Roman
his Sealed
II
omnn. 1920
statuary.
113
/
:ff'
I s,.
Portrait
ofOlga
in
an Armchair. 1917
Ls
the circus and
its
performers had captivated Picasso
during his Rose Period, so now, as he worked on Parade,
he became entranced by the
ballet.
graceful beauty and the theater
which captures bathers.
It is
in fluid lines the
also clear in the
is
This fascination with
evident in the drawing below,
dancelike attitudes of 15 nude
costume sketch
at right,
whose
characters are so reniiniscent of earlier circus paintings.
The sketch was
a
costume design
for a later production
of the Ballets Russes, Igor Stravinsky's charming Pulcinclla.
While these drawings seem quite
realistic,
they also reveal
Picasso's continuing involvement with Cubism.
The
flat
outlined shapes strongly resemble those of the bottles, bowls
and
fruit of his still lifes. Similarly, in his portrait of his future
wife. Olga (left). Picasso has painted the tapestrv-covered
chair on which she
sits as if
it
were
a piece of cloth
pinned
to the flat wall,
one of the techniques of collage. And although
Olgas
well-modeled, the background
figure
is
is
so loosely
brushed and raw that she too seems to have been painted separately and then pasted, like a cutout, onto the canvas.
The experience
of Cubism was
still
very
much
with Picasso. Pternilanil llarlc(jmn. 1918
V
it/
rhrlialhrrs. 1918
116
I'ipcs
I icasso's
experience of
Rome and
saw there had a profound stone sculptures of
effect
the wealth of Imperial art he
on
portrayals of the
He found
his style.
men and women
warriors, draped goddesses
own
in the majestic
â&#x20AC;&#x201D; muscular athletes, robust
â&#x20AC;&#x201D; a sense of grandeur that he applied
human
uf Fail.
shown
figure. In the paintings
in his
here,
Picasso also combined his current interest in the theater, stimulated
by the
ballet,
with the monumental forms of
Roman
antiquity.
The
two huge bathers above appear against a timeless setting of sea and sky, posed between jutting forms as
if
between the sides of a theater's
proscenium arch. Before a similar seaside backdrop, the giantesses the
left
at
race along a shore in happy abandon. So ponderous that their
earthshaking footfalls seem almost audible, the
have the
lithe mobility of ballet dancers.
The
quality of this particular picture ultimately greatly enlarged form,
it
women
nonetheless
striking, theatrical
came
became the drop curtain
to
good use. In
for the Ballets
Russes production of a new work, Le Train Bleu, named for the crack express between Paris and the Riviera.
The theme
of the ballet was
the fun and frolics of genteel society at the seashore; beach sports inspired the dances.
made The
And
Picasso's
a stunning impression
enormous racing
figures
on the waiting audience.
Hun: 1922
117
must have
192.?
Three Graces. 1924
I
ew
pictures painted at virtually the
artist's life
same time
in
an
could be more dissimilar than these two. The
elegant, long-limbed ladies above, posed in a variation of
the attitudes of the Three Graces, are the
last
of Picasso's
1925, Picasso began to rip the
human body apart,
dislocating arms, noses, breasts, mouths. This was careful, geometric analysis of
undertaken
in his Cubist works. Rather,
it
seemed
serene. Classical figures. At right, the diabolical dance of
dissection of a mental state. Perhaps in reaction to
distorted forms in The Three Dancers signals the
disillusionments in his marriage, Picasso saw
beginning of anew and extraordinary period in his
118
art. In
no
form such as he had
everything in terms of some anxious nightmare.
to
be a
v-usiei'irtr.i-'
^njus^m''
Tkr Thm- llnwns. 142
U Oman
in
an Armchair. 1929
a
I
lie
human
destruction of the
figure,
begun with The Three Dancers. gathered
momentum
in the years that
followed. Picasso concentrated almost
exclusively on a single subject seated
woman,
violently treated. in
â&#x20AC;&#x201D;
tranquilly posed but
And he attacked her
an extraordinary range of styles,
each uncovering a terrifying aspect. Splintered faces, simultaneous profile
and front views, animalistic
features and hard, hot colors
generate terror in these pictures. At the
left,
filled
a
woman
with a gaping jaw
with sharklike teeth utters an
almost audible shriek. At the right, a similarly
more
posed figure
is
calmer and
solidly proportioned, but her
bared teeth reveal a glimpse of brutality just beneath the surface.
Directly below are other
menacing
females of this period:
the far right,
a
at
touch of whimsy seems to have
entered Picasso's view, yet the figure is
lauehins with diabolical elee.
miiS*^ Smird
hfiuiru, a
i;.<l
Cltmr. 1932
//Âť
121
Halhrr. 1Q30
1,//,.,,
/;,,/.
1932
In 1932, abated. lift
Picasso's vengeful attack on the female figure
He had become
interested in a
in his spirits is evident in these
new woman and the
two pictures. The
torment of earlier works iseone, althoush an unsettling
122
quality remains. ,\bove, the face and
bodv of the
girl
asleep are curiously halved, perhaps to suggest the dual reality of
dream and waking. At the
right, the
woman's
mirror image seems to be her mysterious other
self.
(,irl li,-l,â&#x20AC;&#x17E;rn
123
1//,
S\'
w .~N'
^i\\'!^
-^^^
Hi-
^1
A .^''
X <
124
VI //
Painting
an
... is
instrument of war
Picasso's sympathies in the Spanish Civil
War
f/
were shared by most
creative artists, whether or not they shared his attachment to Spain
Even the nonpolitical among them detected the threat
itself.
creative spirit in the totalitarian voice of Franco's Fascism. a
to the
Seldom had
war received such energetic support from writers and painters the
world over as the Spanish Republic's struggle for
its life.
At one low ebb in the Republicans' military fortunes, in January of
With Franco
1937, Picasso gave vent to his feelings in his art.
produced a
direct target, he
set of
as a grotesque creature like a cancerous, hairy turnip, wearing a
and grinning
evilly
from
mouth
a
as his
etchings that lampooned the dictator
crown
middle. This arrogant monster
in its
â&#x20AC;&#x201D; unlike any Picasso had yet devised, and certainly the most repulsive â&#x20AC;&#x201D; the sun, slaughters a horse, axes a statue. In some scenes tilts at
only the victims appear. Mostly they are
women and
children, dead,
dying or hopelessly despairing. Picasso engraved this savagery in two large copper plates, each of
which he divided into nine rectangles about the
size
of postcards.
Originally he intended to have the 18 etchings sold separately, to raise
money
for the
powerful that
Republican cause. But their combined it
was decided
to
present
them
effect
was so
as a series with
the
scenes arranged in sequence, like the "Alleluia" he had sketched in
1904 on the occasion of his journey This previously unpublished
He
poem
also decided to add a
to settle in Paris.
of his
own composing,
written in the
drawing by the Surrealist Dali both pays
pokes a
homage
little
him.
The
head
or
to Picasso
well-aimed fun
laurel wreath is it
and
cessful than those he had etched, they
at
around
his
still
reflected his loathing of
an unnamed tyrant:
a set of devilish
horns- seems to be Dali'sjokeat his celebrated rival's
whether
Surrealist style of his earlier verse. If his verbal images were less suc-
expense. But
fandango of shivering owls souse of swords of evil-omened polyps scouring brush of hairs from priests' tonsures standing naked in the middle
in praise or derision.
upon the ice-cream cone of
Dali has captured Picasso's
of the frying-pan placed
features with exactness.
scabs of his lead-ox heart
Salvador Dali: I'orlmil of I'lmssso. 1933
The etchings and peared
in
.
.
codfish fried In the
.
the poem, reproduced in Picasso's handwriting, ap-
the form of an
album
entilled The
Dream and
Lie o/ Fninro.
125
This wa.s just the opening gun of his personal campaign. Even be-
damning portfolio could be issued, the Spanish Republic upon Picasso the propagandist for a larger effort: a mural which was to be the major adornment of its pavilion at the Paris World's fore this
called
Fair in the
summer
of 1937.
own
Picasso promptly accepted the assignment. Since his at
Rue La Boetie was not
the
large
on the project, he rented two
and
new
his
flict;
love,
was as
it
if
to
accommodate
floors in a 17th
Rue des Grands-Augustins, near crastinated, painting decorative
enough
work
Century house on the
the Seine. For several
still lifes
studio
his
months he
pro-
and portraits of Marie-Therese
Dora Maar. These pictures betray no sign of con-
he had deliberately put the war out of his mind.
Picasso was shaken into action by a single event
Spain.
in
On
German bombers flying for Franco wiped out the small Basque town of Guernica. They attacked at the busiest hour of a market day; the streets were jammed with townspeople and peasants in from the countryside. Never before in modern war had noncombatants been slaughtered in such numbers, and by such means. Worse April 26, 1937,
Guernica had no strategic value for Franco's armies, but
still,
it
had a
poignant meaning for 600,000 Basques: from the early Middle Ages
onward, To help ihe cause of the Spanish Republican government during the
civil
war, Picasso
designed 18 etchings that, accompanied by an
impassioned poem, he called The Dream and Ije oj Franco. Incised
which
is
Franco
on two
plates,
one of
shown above, the etchings depicted
in
had been a kind of capital for the Basques, symbolizing
it
their independent spirit
w
ithin a
In just the
a horselike creature
becomes
disemboweled by a
bull.
horses, of a
ideals.
week an unfuriated Picasso was
at
work
made about 25 sketches: woman leaning from a window with a 10 days he
first
grotesque forms, In the climactic
picture, enlarged below, the dictator
and democratic
figures, separately
and
in
groups.
On
his mural.
at
of bulls, of slain lantern, of other
the 11th day he set up a gigantic
The room in which he accommodate the canvas, but not,
canvas, about 25 feet long and 11 feet high.
worked was
just long
enough
to
despite the old-fashioned ceilings, high enough. Undaunted, Picasso
placed the canvas at a slant. As he painted he would climb up and
down
a ladder,
moving
it
in short hauls the length of the
room
as he
went; where the canvas slanted away from his reach he employed a special long-handled brush, leaning precariously forward
from
his lad-
He had an enthralled audience in his new mistress. Dora not only kept him company but photographed the work as it progressed. In about a month of unremitting labor Picasso completed his great Guernica (pages 137-139). It may well be the most terrifying document
der perch.
on the horrors of war ever
to be
produced by an
artist. In
marshaled many of the techniques he had employed the
flat,
in
series.
But the
artistic
means Picasso
importance alongside the end he achieved; Guernica
monumental outcry of human grief at its most anguished. The central figure is a wounded horse, its head upraised of fright.
Above
it
is
lies
a
slain
126
into the distance.
a
a par-
warrior, one hand
clutching a broken sword, the other tautly outflung. To the off"
in
is
a sun shaped like an eye with an electric
bulb for a pupil; below his hooves
looks
Picasso
powerful, abstracted forms of primitive African
symbols of his Minotaur
used pale
oxysm
it,
previous years:
fragmented figures of Cubism; the dislocations of eyes, ears,
profiles, limbs; the
art; the
in
Below him
a
woman
left
a bull
holding a dead child
One
sends a shriek heavenward. At the right are three other women.
screaming from a burning house, her clothes aflame. Another
falls
runs in mindless
flight.
The
by a head and an
third, represented only
arm, thrusts forth a lamp.
The
painting contained a
final
Picasso's earlier conceptions of
number
of important changes from
In preliminary sketches the bull
it.
looked toward the center of the picture; by reversing
made
seem
it
to be
head Picasso
its
scanning an unseen horizon. The fallen warrior
originally raised a clenched
fist
Popular Front. At the
Picasso had planned an outdoor scene,
start
the
in
leftist
salute of the Spanish
but he added such indoor effects as the light bulb, the tiled floor, a table
and suggestions of the contours of
a
room.
Perhaps the most important change was his decision to paint
any way, emphasize the tragedy. Neither ures, nor in
Even the woman's lamp only serves Picasso
in the
there hope.
is
usually loath to expound on his pictures, but in
is
World War
two most important symbols
terviewed him
at his studio.
in fig-
to illumine calamity.
after .Allied troops liberated Paris in nira's
nor
in the colors,
the complex symbolism of the painting,
all
Giter-
These somber hues, unrelieved
nlra solely in black, gray and white.
1944,
he explained
II.
Giier-
an American soldier who
to
in-
'"The bull," Picasso said, "is not fascism, At 4:40
The horse represents the people." By Picasso's own account the bull would seem to be the villain of the piece. Yet some critics have suggested that even in the "brutality but
it
brutality
is
and darkness.
.
.
.
and darkness" of which Picasso spoke, the creature the victims, and that in surveying the horizon
it
than the frantic horse and the screaming women. is
not the villain, then the
enemy
bewildered
less
indeed, the bull
If,
nowhere on the canvas
is
the afternoon of April 26, 1937, in
planes like the Heinkel their
bombs on the
small,
â&#x20AC;&#x201D; an
pilots flyinj;
(above) dropped
III
town of Guernica. Later
as guiltless as
is
no
is
in
an unprovoked attack, German
undefended Basque the day
in
bombs were dropped by Junkers
more
52s, also
supplied to Franco by Nazi Germany.
wanton blows and two days
later fell to
Francos Nationalist forces without
omission that conveys a chilling message: to the victims of modern warfare, the
enemy remains impersonal and unknown.
In a matter of weeks after Picasso finished his giant mural mounted on a wall inside the entrance of the Spanish pavilion World's to task
Fair.
on
touched
It
off"
a
the
at
storm of controversy. Picasso was taken
political as well as artistic
course, vociferously attacked
was
it
it,
all
grounds. Franco supporters, of
more
the
so after a statement by
Picasso was published saying that Guernica was intended to express his
"abhorrence of the military caste which has sunk Spain
in
an ocean
of pain and death." Less predictably, however. Guernica irked partisans of the Republican cause,
who
felt
have expended his energy on a forthright
The tester
art critics
were as divided as the
"banality of overstatement."
A
arms.
political
denounced the mural's "scarecrow
many
that Picasso might belter
call to
factions.
figures,"
One
pro-
and another
its
distinguished champion of Guernica,
the British critic Herbert Read, took up this charge. "Picasso's sym-
Read wrote, "like the symbols of Homer, Dante, Cer-
bols are banal,"
vantes. For
it
is
only
when
the widest
commonplace
is
inspired with
the intensest passion that a great work of art, transcending
and categories,
is
all
schools
born; and being born lives immortally." A more im-
mediate note of prophecy appeared
in
an
article
in
the
The
town was severely damaged (below/ by these
magazine
127
resistance.
Cahiers (VArt,
soon after
its
which devoted almost an entire issue
The author
public debut.
whose wife was
over Daniel-Henry Kahnweiler's gallery
later to take
when another world war forced Kahnweiler ond time
in his life.
to flee F'rance for the sec-
Leiris wrote: "Picasso sends us
ment of our mourning:
we
all
Guernica
to
of the article was Michel Leiris,
love
our announce-
going to die."
is
In just two years, the horrors of Guernica were to be incalculably compounded by a war that would engulf first Europe and then the globe. In the uneasy interim, the statesmen of France tried
to
Adolf
momentarily succeeded, or more often
failed,
Hitler; as their efforts
the anxiety of Europeans ingly.
and England
curb or cajole the power-mad Fiihrer of Germany,
still
beyond
Hitler's reach fell or rose accord-
There was no hiding place from the headlines, and few were
exempt from the tensions of the time. Picasso's ternating currents of hope and fear.
He
created
art
reflected the al-
some of
his gayest
works, and some of his gloomiest, in these years.
He had
little
cause for personal complaint. Except for one frighten-
ing bout with sciatica, he
went
well.
was
in
She was not only good
pert hairdo, but she
fine
His
health.
affair
Dora
with
to look at, with her bright eyes
was also good
to talk to.
and
Dora's camera record
of Picasso's progressive revisions of Guernica was but one token of
her eagerness to be a true helpmeet.
His prestige was skyrocketing. After the Paris World's Fair closed, Guernica went on tour across the Atlantic to Until he
moved
World War during the
II.
to the
south of France after
Pioasso habitually
summer
Paris
left
for the seashore.
Most of
the time he headed for the .seven-mile stretch
of Riviera coastline between Aiitibes.
Here he relaxes
luncheon table
in
al a
Mougins,
Cannes and tree-shaded
just outside
Cannes. With him are Dora Maar ( foregroiiml. in
a familiar ring
â&#x20AC;&#x201D; to
New
Norway,
to
London and Liverpool, and
York. Picasso's name was beginning to have
even to the random
museum
visitor.
The proceeds of
the Guernica showings went to the foundering Spanish Republican
him
cause, but Picasso's other works brought
He
ever-larger sums.
had an elegant Hispano-Suiza, and a chauffeur. Marcel, to drive
when he
traveled to the Riviera to spend the
1938 with Eluard and his wife
and so did
a
at
it
summers of 1937 and
Mougins. Dora went along, of course,
newer acquisition: an Afghan hound. Kazbek, named
for
shadow) and Nusch Eluard, wife of
Picasso"s poet friend. Paul Eluard.
a
mountain
lines
proud bearing and slender
in ancient Afghanistan. In his
Kazbek proved strikingly compatible with the graceful Dora; the
two of them, Picasso joked, were his most important models.
Dora alone inspired torted,
some with her
a host of portraits,
some
realistic,
some
dis-
breasts defined in the spiral shapes of the spun
sugar torruellas Picasso had drawn as a tot of two; in one impish mood,
he placed her head atop a bird's body. The Eluards, too, came for joshing. Picasso painted the poet's face over the
woman
nursing a cat, and his wife's face with two
painted the
men
of the village of
lously sucking lollipops.
And
yet,
Mougins
when
â&#x20AC;&#x201D; and
in
body of a peasant fish
for eyes.
showed them
He
ridicu-
there seemed no end to his
playfulness, Picasso would turn around and produce veritable night-
mares: a painting of a fiendish, half-human cat with a fluttering bird in its
mouth (page
140): a painting of a bull's head torn open to expose
the bloody tissues, and perhaps most wrenching, a series of drawings of weeping
women, successors
to the tragic figures of Guernica.
Out of these fluctuations of mood came two of Picasso's most nota-
128
The
ble paintings.
the
fall
It
oman M eeping (pnge
133), executed in Paris in
of 1937, goes far beyond her prototypes of Guernica and the
drawings that followed. so stark a portrait:
Human
grief has never before or since sat for
becomes universal
it
in the contorted
mouth, the
gnashing teeth, the maddened eyes. A handkerchief simultaneously covers and reveals the face; the tears are small ovals that serve also as clawing fingernails. Picasso's colors are the final, devastating touch:
these are not the somber blacks and whites and grays of Giicrnicd. hut
harsh and angry colors evoking pain and frenzy.
summer
In the
of 1939 Picasso painted \iglil Fishing
a joyous bit of nonsense as cheering as the U
oman
and Dora had taken an apartment for the season resort,
is
the
at
\nlihrs.
iit
He
distressing.
seaside
little
and despite the presence of newly mobilized soldiers
in place
of tourists, they were having a wonderful time. In the evening they
would walk along the harborfroiit. munch double ice-cream cones, and watch the fishermen spearing their catch by the lamps. Picasso's translation of this scene
Two
Cubist guise.
fatuous
girls
cone and balancing a bicycle
at
on
is
a jetty,
light
of acetylene
a triumph of genre
in
one eating an ice-cream
her side, goggle
at
two fishermen lean-
ing out of a boat, intent on luring up the creatures of the deep. spiral
moon,
in the
shape of a spun sugar cake, hangs
in the sky,
A
and
the hills and castle turrets of the town rise in the background.
The
lighthearted
the drying of
mood
that
produced Mght Fishing did not survive
On September
paint.
its
1.
the canvas. Hitler's armies invaded Poland.
just after Picasso finished
Two
days later France and
England, treaty-bound to defend Poland, declared war on Germany. Picasso and Dora took a train tor Paris.
Hispano-Suiza with
luggage
their
Fishing at Aniibrs traveled with
They
Marcel to
left
and drive back
to
Paris.
the
fill
Mghl
him, rolled up on the back seat.
One
of Picasso's most familiar techniques in
depicting the
human form
is
the
rearrangement of anatomy so thai front,
siiles
and sometimes the back appear siniultaneouslv
I icasso lingered in Paris
was
only three days.
Rumors
flew that the citv
bombed. Picasso, together with Dora and Kazbek, and Sa-
to be
bartes and his wife, drove to
Royan, a small port on the Atlantic
on the canvas. A carry-over from Cubism, such alteration this
is
often seen in pictures like
1937 ink-and-gouache drawing,
in
which
Picasso places both eyes, brows and nostrils
about 73 miles north of Bordeaux. They rented rooms and settled Despite the
jolt
of the change, and the news that Eluard and other
friends had been called
up
for military service, Picasso
paint and draw, almost furiously, as terials
vas
so.
to
a palette,
if
to distract
continued to
his thoughts.
Ma-
prop his work on a chair, use the seat of another chair for
and make his own brushes. But the
difficulties
in a
only spurred a
portrait
of
16th Century ruff and plumed hat, with lopsided eyes
and ears, and another
portrait,
that fused the features of
U oman Dressing Her Hair (page 141),
Dora and Kazbek.
Except for three or four trips into Paris to try to get canvas or to place his paintings out of danger in bank vaults Picasso stayed in Roy-
an until August of 1940, when German troops occupied the town.
He
returned to Paris and moved into the studio on the Rue des GrandsAugustins, where he had worked
<in (iucrnicd.
AH hough
in
order In
present the profile and front view
to
him on. He turned out scores of works, among them Sabartes
on the same side of the face
come by; paper and sketchbooks were scarce, canEven when he could get canvas, Picasso lacked an easel.
were hard
more
He had
in.
the American
129
at uik c.
and Mexican governments both offered him asylum, he was
"What
there throughout the four-year Nazi occupation.
Germans
with the
our heels?"' an
at
to
remain
we do
shall
asked him. "Hold exhibi-
artist
him
tions!' Picasso replied. But the Nazis forbade
do so: Hitler
to
scorned Picassos work as degenerate "Bolshevik art."
The
was vastly changed. German soldiers were enjoying the
city
had
cafes of Saint Germain-des-Pres that
recent years
in
replaced
those of Montmartre and Montparnasse as the gathering place of Pa-
A
risian intellectuals.
enemy. Some,
few of Picasso's ex-friends collaborated with the
were working
like Eluard,
Just as Picasso's tiny
room
at
underground resistance.
in the
the bateau laioir had been a Rendez-vous
des Poetes nearly four decades earlier, so
now
on the Rue
his studio
des Grands-.^ugustins became a refuge for French friends existing precariously
I
among
the enemy.
he Nazis allowed Picasso the same freedom, such as
thev allowed the French. They did not molest him. but called
on him from time
once
to time, at least
was. that
it
German
officers
to solicit his collabora-
The grapevine carried several anecdotes about Picasso's response One reported that Otto Abetz. the German Ambassador in Paris, offered to supply him with coal. Picasso refused, telling him coollv that "a Spaniard is never cold!" On leaving, Abetz was said tion.
to Nazi overtures.
to
have noticed a photograph of Guernica, peered
exclaimed
in recognition:
did that?"
"No," Picasso
"Ah Monsieur
at
was you."
retorted, "it
it
Picasso, so
elaborately and it
was you who
When
he was asked
about this story after the war, Picasso laughed and said. "Oh. its true, A
special gift of Picassos
is
and often surprising
identities.
He
the sculpture ^afcotp^ entitled Bull
my
created s
The Boches used to visit me on the pretext of admiring gave them postcards of mv canvas Guernica and told them: "Take them away! Souvenir! Souvenir!" more or
his talent for
investing familiar objects w ith totally new
Head by
bicycle. Congratulated
not enough. bit
of
It
ing gloves with the fingers cut
on the
remarkable likeness. Picasso replied. "That
I
Often he was so cold that he worked bundled
combining the saddle and handlebars of an
abandoned
less.
pictures.
s
reflect
off.
in sweaters,
and wear-
His pictures increasingly came to
the privations of war and the dearth of food and heat. Some-
should be possible to take a
wood and
find that it's a bird."
times Picasso was so obsessed with hunger that he Ic^inglv lavished representations of sausages and leeks on his canvases.
He made
saddle and the handlebars, he put
head
came
the most of the simplest materials that
a walk one day in 1943. he found an
â&#x20AC;&#x201D; one of his
abandoned
them together
in the
torm
On
up the
of a bull's
most ingenious and widely known metamorphoses.
Picasso takes particular pride in this work.
Showing newspapermen
through his studio after the liberation of Paris cial attention
hand.
to
bicycle. Picking
to
it.
in
and soon afterward he sent
1944. he called speit
to his
first
post-
occupation exhibit. Another half-playful, half-serious work of 1943 was his painting First Steps
(page 156). showing the willful determination
of a toddling child and the watchful concern of his mother.
tended, perhaps, as a declaration that
life
It
was
in-
persists in the midst of death.
During the Occupation. Picasso also created dozens of pieces of sculpture, modeling in plaster with his small, strong hands. his all
work could be
None
of
had commandeered
metals, especially bronze, which they got by stripping and melting
down some
130
cast though, because the Nazis
of Paris' celebrated statues
not to turn into cannon but
monuments
to be recast as
however,
to Hitler. Picasso's friends,
fear-
ing that the fragile plasters might be damaged, secretly located a supply of bronze. Late at night they
would hide
models
his plaster
wheelbarrow covered with garbage, trundle them
in
a
foundry under
to a
the very eyes of Gestapo guards, and then go through the same proce-
dure to return the work, cast
Among Man with
in bronze.
the most striking of the sculptures Picasso executed
the
is
He began to make pencil sketches of the idea in 1942. In the summer of 1943 he set to work one day with a huge mound of clay stolen for him by a Spanish friend. The finished statue, later a Sheep.
cast in bronze, in its style
it
is
is
one of the
rarest
works
in Picasso's entire repertoire;
almost like Renaissance sculpture.
By 1944 Nazi reverses on the
battlefield incited a
new
series of atroc-
against the French, especially those of Jewish ancestry.
ities
stapo uprooted
Max
The Ge-
Jacob from the monastery where he lived and threw
camp. He died there of maltreatment only
him
into a concentration
five
months before France was
liberated. His
body was returned
many
Paris for burial. Picasso attended the funeral;
to
of his friends,
fearing reprisal from the Germans, did not.
Widespread despair over such tragedies as Jacob's death was
offset
by the knowledge that the course of the war had turned. In June of
1944 Allied armies landed
in
Normandy and began
As hope spread through the
Paris.
French
— added
were almost
all
new
a
city, Picasso
a steady thrust toward
— perhaps
never more
subject to his painting: views of Paris.
They
scenes of the Seine bridges, featuring Notre Dame, with
Sacre Coeur, a landmark of his old Montmartre days, perched high on the
overlooking the
hill
city.
Most of these landscapes were painted
in
low key, largely blacks and grays, with a few in purples and lavenders.
Picasso fashioned the statue below in his Paris studio during
peaceful, pastoral with a Sheep
in the first
A tomato
palette. fruit
week of August, brighter color came back
and
in
on
plant that he kept
his
window
began to bear
it,
the reddening
which Picasso studied,
'n
August 24
full-scale fighting
broke out in the streets, and
— like nearly every other building in
Paris
Picasso went to work. set
To
celebrate the
imminence of
wild.
literally,
made a
free
all
— shook
Allied victory,
copy of
it.
the following day Allied troops entered the city, and Paris went
Old friends, reporters and curious soldiers promptly besieged
Picasso's studio; the procession kept up for days. Immediately Picasso
became
a
new kind of hero
— not just a liberated
painter, as he had al-
ready been for nearly 40 vears, but a symbol ol tenacity throughout the bleak days of occupation. "This was not the to
throw
in
moment
for a creative
man
the sponge, accept defeat and stop work," he later recalled.
"There was nothing
to
do but go on working seriously and enthusias-
tically struggle to find food, ('almly
await Ireedom."
Now freedom was
continue to see one's friends, and at
hand
one above,
and on. for
a
year
took him just one day to do the figures.
painted by the great 17th Century French Classicist, Nicolas Poussin,
On
Man
dimensions. Once he began modeling the clay,
before him a reproduction of The Triumph of Pan, the bacchanal
and without following the forms
II. Its
called
before he started working in three
with the sound of tanks and heavy gunfire. While others took shelter,
he
is
like the
off
tomatoes added a cheery note to his otherwise monochromatic canvases.
day Picasso's studio
it
The sculpture evolved
from a series of sketches,
to Picasso's
sill
the four pictures that Picasso painted of
—
— was perhaps his reaction to the
tenseness of the times.
it
Then
World War
theme
at last.
131
0,*ne of
history's bloodiest, bitterest civil wars burst
across Spain in July 1936. Picasso watched with mounting
apprehension and indignation as his native land was torn by the succession of blows that began with rebellion in
A
Decade
of Violence
Spanish Morocco and led to the savage bombing of the little
town of Guernica in northern Spain the following
spring. Horror-struck at the destruction of this peaceful village
and
its
innocent civilian population by
German
planes and pilots borrowed from Hitler, Picasso was jolted into a whirlwind of creative fury.
As civil war
World War
11,
Spain gave way to the cataclysm of
in
Picasso's paintings reflected violence,
agony and death. Often he conveyed the tragedy of the time in provocative symbols such as those that
fill
his
masterwork Guernica (gatefold, pages 137-139). In other
moment exploded in tortured woman weeping at the right.
canvases, the havoc of the
renderings such as the
When the war was over Picasso remarked, paint the war.
.
.
.
But there
is
"I did not
no doubt that the war
Furiously biting a handkerchief, is
enormous
there in the pictures which
I
painted then." Only
tears streaming
from the
staring eyes of a ravaged face, this
Guernica, painted before the war, and (Juirnel House,
woman seems about
completed after
under the twin impacts of grief and
it,
include direct references to the
rage.
holocaust of war
itself.
But
it
is
in
the distortion of
â&#x20AC;&#x201D; screaming horses, grisly animals, broken children and tormented adults â&#x20AC;&#x201D; that Picasso has familiar subjects
made a more stunning portrait even a camera could record.
132
to shatter
Although the model for the
painting
may have been
Picasso's
handsomiC mistress Dora Maar, inspiration no doubt was the
bloody
civil
war
in
Spain.
of war's cruel reality than If
umnn
II
ec/niif;
.
1937
its
133
^mit^^ti^
\Unoliiuromnch y.
^Miarlv
burst onto canvas in Picasso's most powerlul painting,
the 1930s, as coiiHict and insurrection
in
perhaps the greatest antiwar statement
beset Spain, Picasso began to be increasingly
preoccupied with violence. Time and again brilliantly
in a series
of
executed etchings, he explored the theme of the
adapted the Minotaur theme
— a savage mythological beast, half-man and
horror.
half-bull.
Sometimes Picasso stressed the human aspect of
feet across.
women, but
its
playful antics with beautiful
often he emphasized
and the romp became rape. The
Minolauromachy
its
ferocious other side,
series
was climaxed with
— shown above. Here, a fearless
confronts the beast,
who wears
a
little girl
menacing bison's head.
Directly in the Minotaur's path, a defenseless
woman
matador with her breasts exposed slumps precariously across a disemboweled horse.
The action
is
arrested in the
electrifying second before the beast viciously tramples the fallen
matador and gores the
little girl.
In 1937. the implied violence of the Miiioliiuroimicln
in art.
Reacting to
the brutal bombing of the Spanish village Guernica, he
Minotaur
the creature, picturing
The
picture It is
is
huge
in a gigantic tapestry of
— nearly 12 feet high and 26
cast in darkness, as
if
in
mourning:
Picasso had restricted his palette to severe blacks, dead whites, deep grays.
Near the center of the painting
is
a dying horse, a
bloodcurdling vision of futile protest from whose contorted mouth issues an almost audible shriek of pain.
To the
left,
a dead soldier clutches a shattered sword
and
nearby a mother grieves hysterically over her dead baby: to the right, a terror-struck
head
floats
figures that panic in the darkness. bull, dispassionate,
between two frantic
Above them
perhaps triumphant
all is
the
— a symbol,
Picasso says, of "brutality and darkness."
/,(// (iiiil
134
I
unfold: do not Irnr.
Q35
10 Il iidilTiciill Ji,ini
imagine ihal ihe
above gave
i)irlh lo
lup^nd. Belween Ihe
humble dnodle
Giirmira. Ycl ihis
lirsl
is
whal
of May 1937 and ihe end of
|a«t.«ln'n ihc 3l2-si|uare-fooI
eanvas was complelcd.
Picasso prepared 45 skelches. first
day, already contain
emerge
vital
The two above, made ihe elements Ihal would
in the final composition
of Ihe bull
is
:
in
both the outline
at Ihe left, the lighl bearer appears at the top,
and the horse
i<t Ihc central figure. Tracing the evolution of these elements through four of Ihe .ketchei for Ihe
provide a uin 'I'
a,
the |«ilh
d.,. ^^'
^
Pl~.-luiul>l„„l
in the rn-otui nollln>
whole comimsition (atiofpl. and com|KirJngthe detoil studies below with the fiiiinhcd painting on the galefold,
work n[ gem
IVamo on i-e Mid, ntav enable tl fulli
wed bv Ihe brain
m
n
'<3Jy
<^
^'
S^
Cucrniai, 1937
140
I'nrlmU uj
Q
'uring the
last
\hnn uilhn
bloody year
Doll.
of the
1938
Spanish
War and the first harrowing months of World War II, Picasso's art became agonized
Civil
and
He transformed
shrill.
simple, everyday
and a bird
subjects, such as a cat
(left),
into
bizarre images that vividly speak of cruelty.
And he took almost perverse anatomy,
as the
illustrates.
Even
liberties with
gruesome nude below his pretty little daughter
(above) became sinister; her face
is
Maya
a grotesque
fusion of both a profile and a full-face view;
her smile
is
diabolical.
The catastrophes
of
war, no longer pictured directly as in Guernica, are nonetheless present here.
Cat
Ih'nmrmau Hud. 1939
uaii /VrsMHi,.
Iln lln
141
I icasso
stubbornly refused to leave Paris throughout four
He continued to work now focused sharply on tragedy. His
perilous years of Nazi occupation.
alwavs. his genius
interest in sculpture,
dormant
again. Death's Head, a pilfered its
from the Germans,
massiveness.
flesh
on
moving
Its
is
for nearly a decade,
as
was roused
piece cast in bronze that his friends
shown here
in
two views
to
suggest
ravaged surface evokes the texture of rotting
a skull with vacant, staring
eye sockets.
After the Allies liberated Paris in 1944, the city was shocked
by news that millions of persons had been brutally slaughtered
in
Nazi concentration camps. Picasso's response to the carnage was a painting recalling the
power of Guernica. Charnel House,
shown below, mutely reckoned with cadavers of a bound man, a
bitter fact
woman and
:
the starved
a child lie
murdered
only inches from a table spread with food. Once again, Picasso
Ilmlh\
llrud. lOll.Siilc
M
alidve; front view, right
had
fulfilled his
war
.
.
." to
own words: "Painting
...
is
an instrument of
be waged against "brutality and darkness."
:.,^:y%
"^ «*<y^--.
^F'
VII
The
Artist
of the Century
It
seemed
in the fall of
1944 as
if
body loved him. As Paris came
Picasso loved everybody and every-
to life with the
departure of the Ger-
mans, citizens and visiting soldiers could see him as he cafes or strolled the streets of Paris.
Most Parisians agreed
in
the
that he
was
sat
the most popular figure of liberated France. In the view of one news
correspondent, the only person
who compared with him
as a subject of
conversation was the war hero General Charles de Gaulle. Picasso responded to his celebrity with
He made everyone welcome Augustins diers
at his
â&#x20AC;&#x201D; old friends, journalists and
who
warmth
word and deed.
of
apartment on the Rue des Grands-
Some were
total strangers.
sol-
arrived so tired that they dropped off to sleep; one visitor
counted 20 slumbering men
in
the studio on a single day. In a burst of
conscience, he plunged into public service;
when General de
Gaulle,
by now President of the Provisional Government of France, instituted a committee to choose artists to paint the war, Picasso served on
an even more active the French
spirit,
Communist
it.
In
about a month after the liberation, he joined
Party.
He
gave
it
more than
his
name; he
at-
tended meetings and was soon to contribute his talent.
Most Frenchmen took Picasso's political venture with equanimity. The Communist Party in Europe was generally held in esteem at the time, for the best organized resistance against the Nazis had come from the Communists. Besides, many intellectuals saw in Communist theory
Some
a humanitarian creed and dedication to social justice. closest friends
ably induced Picasso's piercing, dark eyes have
retained
all
thai they riiaiif
the depth and magnetism
showed
58 years
in the
earlier
him
to join,
white-haired poet.
him with
of Picasso's
were Communists, among them Paul Eluard, who prob-
and Louis Aragon,
a blue-eyed, prematurely
To those who took exception
caprice, Picasso retorted:
charging
to his politics,
"What do you
think an artist
is?
photograph
(page
6).
An
imbecile
who
has only his eyes
Although his own eyes seem to
musician, or a lyre
have remained unchanged over the
the contrary, he
at
is at
if
he
is
a painter, or ears
every level of his heart
if
he
not done to decorate apartments.
It is
a poet
is
the same time a political being.
years, his treatment of eyes in his
work has been extraordinarily varied.
is
.
.
.
he
if .
.
.?
is
a
On
No, painting
an instrument of war for attack
and defense against the enemy." Six weeks after the Liberation, the Salon
d'Automne opened
its
doors
145
for the fore.
time since the Germans had occupied Paris four years be-
first
For vears the Salon d'Automne had held the most important of
the exhibits in Paris in the course of any season.
all
meaning
in 1944. for
named
bilantly
had particular
It
expressed the triumph of survival:
it
the "Salon de
la
was
it
homage
Liberation." Giving
ju-
to the
hero of the hour, the jurors of the Salon offered Picasso a gallery to himself.
The Salon had previously given
honor
this
outstanding
to
French painters, but never before to a foreigner. Picasso's acceptance
was
unique as the invitation
as
among them
— he
had made
it
many
Unlike
itself.
a practice not to
artists
show
— Matisse
works with
his
the paintings of other artists. But responding to the Salon gesture as
he did to other demands on his new role as a public
he sent to
figure,
the exhibition five sculptures and over 70 paintings. Most had been
executed since 1940. and
were new
all
to the public.
Emotions were taut and patriotism ran high occupation, and
honor a
at
manv people
such a historic moment.
mob stormed
after four years of Nazi
resented a foreigner's having so great an
Two
days after the exhibition opened,
the gallerv shouting: "Take
them dow n! Money back!
Explainl" Thev tore Picasso's pictures from the walls until
squelched the
officials
then a group of pro-Picasso students moved
riot:
in to
take turns guarding the gallerv. Most of the rioters were young, and
they were probably inspired both bv reactionary yet accepted Picasso's revolutionarv art.
who wished
Ls
turned.
the
to
first
The
artists,
who had
and by right-wing
not
politicians,
demonstrate against Picassos Communism.
flush of liberation
wore
off",
the ugly realities of war re-
pushed ahead into Germany and
Allies
in the spring of
1945 began to uncover the atrocities of the Nazi concentration camps at
Buchenwald. Belsen and Dachau
world found
difficult to
— horrors
such as the
civilized
conceive. Picasso recorded his indignation w ith
Charnel House (page 142), one of the largest canvases he had painted since Guernica seven vears before. As in Guernica, stark black, white
and gray expressed the tragedv. but he abandoned
tl\p
Guernica and painted a pile of gruesome cadavers that
symbolism of
make an
elo-
quent denunciation of human brutality and madness.
With Charnel House
—
new and happier vision and raphy, a method of printing copies from what
is
^ ar
Picasso's anger abated. \^"orld
Picasso's outlook brightened, and he turned from
in effect a
to a
ended.
II
nightmare
new medium. The medium was
that enables the artist to
to
a
lithog-
make multiple
crayon sketch. In 1945 he began to work
with Fernand Mourlot, the most expert lithographer in France: his shop
made
the posters for practically every Paris art exhibit worthy of the
his forebears had produced the famous political cartoons Honore Daumier almost 100 years before; another had done the
name. One of of
posters of Toulouse-Lautrec at the turn of the century.
Picasso also found a goise Gilot. a
voung
before, at a time
ternatelv
new
girl
when
demanding and
— Fran-
he had met about a year and a half
the high-strung Dora Maar was growing aloof. Like a
interest Picasso. Frangoise
146
subject and inspiration at this time
whom
was
good many of the
intelligent, vivacious
al-
women who
and good-looking;
a
like several of
them, she was strongly independent. She was scarcely
into her 20s, only a third of his age.
She was
who had guarded
dents
Salon de
his paintings at the
some
also a painter of
promise, and a devotee of Picasso's work; she had been
among
the stu-
The
Liberation.
la
she was a budding painter and he a master gave each an appeal
fact that
for the other that bridged the gap in their ages. At the time that thev
some paintings on show at a small gallery in Paris. One day the woman who ran the gallery told her excitedly that "a short man with piercing dark eyes, wearing a blue-and-white striped sailor's jersey," had come in to look over her paintings, then left without a word. It was the 61-year-old Picasso come to see the work of the met, Frangoise had
21-year-old
I
he had met just twice.
girl
rangoise's childhood had prepared the
way
for out-of-the-ordinary
any case. As the only child of a stern father who had
interests in
longed for a son and given his daughter a rigorous athletic training in
swimming,
and hunting, she had had bred into her a strong
sailing
When
sense of competition.
she met Picasso, she recalls, "I knew that
here was something larger than [He]
was a challenge
life,
something
to
match myself
challenge involved. She had lived a lonely girlhood.
she wrote in retrospect, "with someone I
who was
"Now
suddenlv."
three times as old as
was, there was from the start an ease of understanding that
possible to talk of anything.
Soon Frangoise began week, and, the
fall
like
against.
could not turn down." But there was more than
I
made
it f^TiJl^^jr^*r^\'-
seemed miraculous."
It
to visit Picasso's studio
two or three days
a
From
her predecessors, she quickly became his model.
of 1945 into the following spring, working at Mourlot's studio,
he made a series of lithographs of her. At cally, as
he had done
to painting, he devised a
first
he portrayed her
realisti-
with Olga and Dora Maar. Then, turning
initially
new
style especially for her.
"You're
like a Thi.-,
growing plant," he told her, and he painted her as a flower, with a stemlike
body and a face surrounded bv leaves or
petals.
The following sum-
mer, when he went back to Antibes. where he had vacationed before
in a friend's
in
fall,
living in a few small
ill-suited to painting,
was remedied after a fortuitous encounter with Dor de
Antibes.
The museum, which contained Roman
ments of
local history,
â&#x20AC;&#x201D;
its
ttie
beach
Souchere has been well paid Night Fishing, but Picasso
left
in character.
One
one of
tiis
Golfe-Juan
the sun. he seems to be parodying a
la
Souchere,
museum
and other
at
frag-
is
gay, the presence of Picasso's
estranged wife, Olga, in the same town for Frangoise quite uncomfortable.
â&#x20AC;&#x201D; Olga, wearing high
heels, deliberatelv
stepped on the poor girls hands while
was lying on the beach.
dressing up his
that painting for his scanty
a floor of the
museum He
him the production of light in spirit
as a studio.
did not get the
that
summer
â&#x20AC;&#x201D;
and Mediterranean
of them, Joie de Vivre, shows a flowerlike
made
On one
occasion her discomfort became physical
the background of Picasso's
for his generosity.
about 30 paintings that are
in
at
on ihe Riviera. Shielding Frangoise Gilot fnun
Hearing Picasso mutter about the inadequacy of his quarters,
Souchere offered him the use of
series of
artifacts
who was busy
museum, nursed hopes of acquiring
collection.
moods on
occupied part of a palace formerly owned by the turrets appear in
Night Fishing at Antihes. Souchere, faded
rooms
but that situation
the energetic and quick-witted curator of the dilapidated
Grimaldi family
pixie
mood here
Antibes through the
house that was
happv scene stiows Picasso
maharani-siave relationship. Although the
the war, he took Frangoise along.
They stayed
more
woman,
suggestive of Frangoise, dancing to the tunc of a flute piped by a cen-
147
siie
lile
a
1
taur:
all
are full of
nymphs, fauns and centaurs, and painted
pinks, blues, greens
The episode
in delicate
and ochers.
museums
Antibes marked the beginning of a rush by
in
to acquire Picasso's works.
When
he returned to Paris in the
fall
he
from Jean Cassou. director of the Musee d"Art Moderne. Although his museum was in the heart of Paris and run by the French government. Cassou"s problem was not unlike Souchere"s: he had to had
fill
a visit
out an inadequate collection. Because the major modern artists had
been so much scorned during the early years of the century, no French
museum
much
ever so
as
contemplated acquiring their paintings,
though modern works could then have been had for a song. Now, tardy bv some 30 years, the French
museums woke up
to the fact that their
collections were woefully sparse. But Cubist art in particular was
or in a foreign
museum, many
of
them
al-
in a collector's
home
as a result of the sales of
Kahn-
most unobtainable. Virtually every painting was
weiler"s property in the early 1920s.
Nevertheless, Cassou hopefully went after Picasso, Braque and Le-
had already determined
ger. as well as the 77-year-old Matisse. Picasso to
keep what few Cubist paintings he
still
owned, but he
let
Cassou
have 10 works from recent years, among them two portraits of Dora
Maar and
a wartime
museum
the
still life.
But he did not
sell
the paintings: he
done
a gift of them. Not long after he had
made
so, the Paris
newspaper Samedi Soir carried a story announcing that the great Picasso had rooked the tax collector. Imagine,
it
exclaimed, what he could
write off his taxes at the end of the year!
B.^ack on the Mediterranean coast the following summer, Picasso came the head
of a family again, for Frangoise had borne
name
to
son by Olga was called Paulo. She remembered an 18th
grounds that
simpiv entitled Ball, were done within a year
Century painter named Claude
one another. At the top
beneath
it
is
is
the third and
the last in a series of
lithographs that Picasso
made
in
be-
â&#x20AC;&#x201D;
the baby Pablo after himself, but Frangoise objected on the
These two lithographs, both of which are
iif
a son
strongly resembled his father. Picasso wanted
who
black-eyed infant
him
his
Gillot.
and by a nice coincidence, he
had painted harlequins, so they settled on Claude for the child.
^ ith
1
1945 and
new
his
family, Picasso
more
or less settled in the south of France. In
1946. In a striking progression, he developed
1948, a vear after Claude's birth, he bought an ugly stucco house that
the figure of the animal from a meticulously
stood on a
realistic
form
to that of
pure
line.
hill
Romans knew for
near the town of Vallauris it.
â&#x20AC;&#x201D; the "A alley of Gold." as the
perhaps for the quality of
its soil,
which was excellent
making pottery.
Of
late vears the ancient potterv craft
had become better known for the perfume
had declined, and its
villagers
jasmine and lavender that grew in the meadows. potters survived.
On
a visit to Vallauris in
\ allauris
made out of the
Still,
a scattering of
1946, Picasso had met
Georges and Suzanne Ram.ie, who managed one of the healthier workshops. Given a few lumps of clay, Picasso had fashioned three or four figurines.
On
Ramies had
returning a year later, he found to his delight that the
fired
and saved them.
Ceramics held a natural interest for Picasso, since
it
pects of sculpture, painting and draw ing; he once called
combined it
as-
"sculpture
without tears," because ceramic objects are small and easily wielded.
He took
148
it
up with
a passion. Just as he
had done
at
the etching and
lithographic shops of Lacouriere and Mourlot, Picasso delighted in the
company of
the
workmen, and thev
He had no sooner begun
it.
to learn
turn responded warmly to his
in
persistent questions about their craft
and applauded
On one occasion, Mme. Ramie, he took a
heedless of the incred-
potters with his innovations.
ulous exclamations of high
—
had been intended for a vase
it
manipulations turned
it
into a
his quick grasp of
than he surprised the experienced
woman's
—and
clay form over a yard
with swift and faultless
figure, a delicate
maneuver
that
required exquisite dexterity and sublime self-assurance. Soon he was
modeling centaurs,
bulls, fawns,
owls and doves; and he decorated the
traditional Vallauris casserole dishes fights,
women and
and platters with scenes of
bull-
the animals of his painting repertory. In one year
alone he produced over 2,000 pieces.
Ls
busy as he kept himself with ceramics and painting, Picasso
found time
Communism. \^hen
to devote to
the
first
munist-sponsored World Peace Congresses was held
in
of several
Com-
Poland
1948,
in
the officials asked him to attend and give an address. In the middle of
August he flew with Paul Eluard
Wroclaw.
to
Not since the Liberation fervor had died down and the soldiers
dritt-
ed out of his studio had Picasso mixed with such crowds: public so-
does not come easily to him. The trip also provided his
ciability flight in
an airplane, a prospect he dreaded, and his
— a chore that cost
him dearly
he accomplished in
human
effort.
in a
and him
in particular.
Moscow magazine, "are
said in a
few short minutes, but one that
to issue
an attack on Western
"His works," a government
a sickly
A
.
.
.
if
not the bour-
His every canvas deforms man, his body and his face."
Russian delegate rose to his
feet at a
dinner in Poland and echoed
He
the charge from Moscow. Picasso paid no heed.
spent two weeks
vis-
Warsaw and Cracow after the festivities ended in Wroclaw. A second Communist Peace Congress, held in Paris the following
iting
spring, caused a flurry of another kind.
When
the preparations for
it
were under way, Louis Aragon, the leading intellectual of the French
Communist at his
This fanciful poster by Picasso advertises a fair at
which the most popular products-
flowers, perfumes, ceramics
studio to remind
him of
his promise.
The
artist
displayed. "Poteries" (ceramics) were of the greatest interest to Picasso.
and
local
sell to tourists. In
craftsmen to copy
the 10 years he spent
there, he helped Vallauris to pros|ier.
had nothing
among which they found one
portraying a pigeon;
the bird had been a present from Henri Matisse not long before. not exactly a dove, but
men
it
about midday, and by
sight five
was
was an exquisite drawing and a perfect speci-
of lithography (Mourlot had pronounced
and Aragon decided on
It
it
was
just
it
the finest ever made),
what he wanted. He took
it
away
o'clock that afternoon the buildings of Paris
were coated with reproductions of Picasso's pigeon announcing the
Communist Peace Congress. The press set up a ruckus, and anyone
in
France who might have
forgotten Picasso's political affiliation was reminded of
it
He produced an pieces, many of
enormous number of ceramic
prepared, but fortunately for Aragon, Picasso had on hand a sheaf of recent lithographs,
— of Vallauris,
the town he had adopted, were to be
which he permitted
Party, asked Picasso to supply a poster to advertise the
event. Picasso agreed, then procrastinated until one day Aragon turned
up
\/AUAVRI>
critic
apology for capitalist esthetics
that provokes the indignation of the simple people, geoisie.
first
public address
But he won no thanks from Moscow,
which thoughtlessly chose that moment art in general
first
now. Cartoon-
149
ists
lampooned the bird
and
a
varying ways, as a feathered Soviet tank
in
Trojan horse, and a newspaper crowed that "The Cocos [French
slang for
Communists] have taken up the coo-coo language of the Picasso himseli has a living reminder of the event.
Kremlin."
V^ hile
the congress was in session, Frangoise gave birth to a daughter, and
named her Paloma, the Spanish
they
for "dove."
Picasso has always delighted in his children, and Claude and Paloma
were no exception. He played with them both constantlv. as he had
done before with Paulo and Maya, fashioning
dolls
and animals out of
wood and cardboard, which he decorated with crayon. He also drew and painted them and their mother. And as he had once combined bits of
Dora Maars slender face with
Afghan hound Kazbek, now
that of the
he merged the chubby faces of Claude and Paloma with that of the current pet, a Boxer puppy.
I rom all appearances, Happy with the town of
was
this
a period of peace in
of the year, he offered the village a bronze cast of his
which he said he would
CONGRES MONDIAL
children could climb on
prominent displav.
DE LA PAIX
.Assured that
SALLE PLEYEL 20-21 22 ET 23 AVRIL
it.
Only the
ed
art.
in
Communist Party
Milanese pigeon with feet.
orld Congress
in 1949,
was
far
had
specifically for the poster,
was overjoyed when
his
kind of sculpture was
what
name
its
it,
they wanted to know?
implied, thev agreed to accept
a pity,
if it
looks like any other statue!"
had occupied him now and then
when he had
make
to
in
the past, notably
put together scraps of wire and pots
near-abstract constructions. But
now
from abstract. Probably the most famous of the
made
also continued to serve the
in store
the results
works
later
is
of a wicker basket, a palm frond and two cast-off milk
dumping
Communist Partv
another slap in his face.
field.
Attesting
unmistakablv a goat.
is
When
— which,
ironically,
Stalin died in 1953, Louis
Aragon asked Picasso for a portrait of the dictator he
Dove was adopted.
caused a temporary drop
both his sales and prices
thev esteemed
all
the obituary in Les Lettres Frangaises, the Picasso had
some misgivings about the
to use together with
Communist weekly he project
— he
Picasso's public identification with
Communism
with a Sheep,
distinctive feathery
Although Picasso had not drawn this
symbol of peace
councilors, for
pitchers that Picasso scavenged in the potters'
He
hthograph of a
its
Man
main square, where
were not so sure a Picasso would do for
Picasso's magic touch, the combination
Peace" sponsored by
illustrated by Picasso's
The town
in the
blacksmith seems to have had a taste for sophisticat-
village
the earl\- 1930s,
a goat
the French
just
He moaned: "What
and pans
"W
\^ hat
was
a technique that
1949
were
for the Partisans of
it
life.
Picasso was making more sculptures now. About 1950 he resumed
PARIS
This poster, announcing the
it.
their distinguished citizen,
DES PARTISANS
have installed
like to
Picasso's
which he was now spending much
\ allauris, in
in
and had only
Stalin
a
newspaper photograph
to
go by
in
the United States.
gard for Aragon, he agreed to try
it.
edited.
had never seen
— but out
According to Frangoise, the
of reresult-
ing portrait, a simple and generally realistic line drawing, looked exactly like
her father,
whom
Picasso had never seen either.
They laughed,
she wrote, "until Pablo began to hiccough." Nevertheless, thev sent off to
Aragon.
who
published
it
at
it
once.
The Communists were not amused. The portrait did not meet their As Picasso was too valuable an asset to
idealization of their great hero. trifle
with. howe\er. thev directed their wrath at the hapless .\ragon
and ordered him
to print
an apology
in his
newspaper.
.As
soon as news
of an intrapartv spat leaked out, reporters appeared on Picasso's doorstep asking
1.50
if
it
were true "that
in
doing the portrait of Stalin vou want-
)
ed to make fun of him?" Whether or not the party members Hked the
was their
portrait
"when you send
said Picasso; but
affair,
a funeral
wreath, the family customarily doesn't criticize your choice of flowers."
Not long afterward,
went the rounds of Paris
a joke
Jean Cocteau had asked Picasso first
thought
place. "I
now
plied. ''Eh bien,
it
I
why he had ever
would be
hate
my
to the effect that
joined the party in the
a big, brotherly family,"' Picasso re-
family!"
they could laugh over the Stalin portrait, Frangoise and Picassq
If
had many a moment that was not marked by
jollity.
_
Ever since they
had begun living together. Frangoise had been discovering new sides to Picasso's nature, and
more and more complications
and Marie-Therese
his life.
to
soon found that he made regular Thursday and Sunday
â&#x20AC;&#x201D; a practice he had kept up for years.
visits to
He
She
Maya
constantly
sang their praises, together with those of Dora Maar. Olga sometimes followed Frangoise and Picasso on the street or
at
the beach and
when
she was not in their vicinity, she wrote frequent letters, which Picasso read aloud to Frangoise or to feel, she
complex"
wrote
in
lying around for her perusal.
left
â&#x20AC;&#x201D; and indeed,
he eventually began to stay away from home
for days at a time, then return to boast of escapades with
"For the
first
She came
her memoirs, "that he had a kind of Bluebeard
new women.
time," she wrote, "I started taking into account the
factor of Pablo's age. Until then,
it
had never seemed important. But
when he began gamboling about so wildly, I suddenly came face to face with the fact that he was now over 70 years old. For the first time I saw him as an old man." At the end of the summer of 1953 she left him
in Vallauris
Whatever
and tookthe children
their disagreements
to Paris.
may have
been, Frangoise's departure
struck Picasso a hard blow. Deserted and miserable, he turned to his
work
â&#x20AC;&#x201D; and to a
theme
that had haunted
the artist and his model.
The
result
him over the
Human Comedy, a series of 180 drawings that praise to women and make bitter comments on thirdof them depict an a
woman who
is
artist
who
years, that of
was published as Picasso and the
hymn
of
age and impotence.
A
constitute a
often appears leering and old painting
Picasso often adapted his old Cutiist
technique of collage
cruelly young.
by cotnhirnng
to sculpture
actual objects he found around
him with
forms that he created himself. The most striking feature of /ifiioon
I icasso
never alone for long. Soon he was seeing more and more
is
of a dark-eyed
young woman who has been
at his side
was Jacqueline Roque, a cousin of Mme. Ramie, the
ever since. She
is its
toy of a
head, which
motor
to visit in the fall of
1952 and had stayed on as a sales clerk
known about her. But friends say that she is better able than any of his former women to adapt to his caprices and moods. When she met Picasso, she knew a little Spanish; she set herself to learning it better and is now fluent in his na-
at the pottery.
tive language. as
She
publicity, little
also speaks English,
and
an interpreter between him and foreign
ibility, is
As she shuns
low.
she calms him
She
is
down
in
is
is
therefore able to serve
visitors.
With her native
flex-
stormy moods, buoys him up when he
always on hand but never in the way; she reads quietly
while he works, and from time to time changes her outfit or her hairdo the better to serve as his model.
As on former occasions, Picasso was inspired by the new
liaison
to
and
)
ourif;
composed of his
car. Surprisingly, this
(
ahoi'c
child's
combination
rcadv-made object and a sculptured
potter. Jacqueline figure
had come
is
both later cast in bronze
-is
remarkably convincing. Most people notice the toy car at a total
first,
fail to
but see, instead,
image of mother and child.
â&#x20AC;&#x201D;
He once observed vvistfullv to a friend "You know where vou hve. vou live in Paris, vou've got a house, vou know where you stand. But Tm not anywhere. I don't know where I Hve. ^ ou cant imagine how appaUing it is. \^ hatever the force that propels him. he has moved from place to place throughout his life especiallv when the circumstances of his life have changed. In the seek a change of scene.
:
"
spring of
19-5.5
he bought a
the environs of Cannes, about five
villa in
The house,
miles from \ allauris.
was a turn-of-
called La Californie.
the-century mansion, ornatelv decorated with
A
carvings and wrought iron grillwork.
manv
great
Nouveau stone
Art
of the pictures Picas-
so painted here were portraits of Jacqueline, clearlv
showing her big
eyes and her high cheekbones.
Here he also undertook a major work, a Meninas by
of variations on Las
set
17th Centurv countryman Velasquez.
great
his
\ aria-
tions on the works of his predecessors w^ere an old preoccupation.
the face of
it.
that
seems rather odd for a man whose hallmark
work
vation, but the study of others' ly
re-examines the problems of
is
On
inno-
is
one wav bv which he constant-
During the siege of Paris he had
art.
worked on a Poussin. and since then with Cranach. Courbet.
El Greco.
Manet. Giorgione and Delacroix. \
elasquezs painting (page 160) deals in another wav with the
rela-
tionship between the painter and his model. In the case of the Velas-
quez there
is
an added relationship with the viewer. The Spanish prin-
cess and her ladies-in-waiting,
who
give the painting
amination discloses
whom
\
elasquez
at his easel,
is
it.
From
that
it
follows that
painting the King and Queen, not their daughter and her
maids: that in the painted mirror the viewer sees a reflection of a tion: that the princess to be the
to
But ex-
facing the King and Queen,
the viewer sees reflected in a mirror.
\ elasquez
seem
its title,
be the main feature of the picture as the viewer confronts
and her maids, who had seemed on
major subject, are onlv incidental, and
first
the viewer,
finallv. that
according to the perspective rendered bv Velasquez, stands
from that painter that
is
precisely equivalent with that of the
Queen. Bv such a process of
logic, the
mav
viewer
reflec-
glance
at
a point
King and
actuallv fancv him-
self a subject of V elasquez's canvas.
I icasso
Both paintings shown above are entitled fall I
enus and Cupid.
The top one was done
the 16th Centurv bv the
German master
Lucas Cranach. the lower one bv Picasso in 19.57.
Picasso has often based his
own work
on old masterpieces, sometimes quite irreverently. Here, he has
into a
made
spent
two months working with Velasquez's painting. Bv
he had produced
-14
on
variations
it.
Retaining his predecessor's
in
\ enus' hat
huae sombrero, dwarfins her linv head.
general arrangement, he sometimes painted the figures separately, some-
times in groups. But Velasquez had achieved the illusion of the vast
room by representing distance
as
it
was done
in his time,
effect
of distance bv the Cubist technique of overlapping planes,
of them that
lit
seem
and others shaded, and to recede
Picasso's series
is
all
of
them making
ming up of the
at
once a wittv parodv of
pictorial representations of
casso himself had brought to light
a pattern of
some forms
from the picture plane. V elasquez's
and a sober exploration of the ambiguities of
152
by the use of
chiaroscuro and ever-diminishing objects. Picasso achieved as great an
modern
art.
art.
It
is
masterpiece also a
sum-
form and space that
In
its
and distance and the relationship of figures
Pi-
varied treatment of to
one another, the
may be
full series
said to constitute a distillation of Picasso's life work.
March of 1961,
In
Roque,
in a
80th year, Picasso married Jacqueline
his
in
small civil
ceremony attended only by two
friends. Again
he marked his change of circumstances with a change of residence. This time he moved to Mougins, where he bought a
Dame-de-V
ie
after a 17th
Screened from the public by lush trees,
He continues to be community of the
a public figure,
however. In the
day with tributes of every description ticles,
The most
lavish of these
was
Petit Palais
all
it.
fall
of 1966 the
his 8.5th birth-
and newspaper
ar-
over the world.
all
show of three months"
a giant retrospective
duration in Paris, where more than graphics, shipped from
— magazine
and exhibitions
a television spectacular
above
him privacy.
affords
it
named Notrea hill
Western world celebrated
entire
art
villa,
Century chapel that stands on
1.000 paintings, sculptures and
over the world,
the Grand Palais, the
filled
and the Bibliotheque Nationale. Thousands of Frenchmen
and tourists stood on long
waiting for a look
lines,
at
the largest
assemblage ever seen of the works of a single painter.
I
erhaps no tribute to Picasso
by his countrymen
in Spain,
is
more touching than
where two of
Lie of Franco and Guernica, long ago
Dream and
made him persona non grata with
the dictatorship. Since 1963 Barcelona has boasted a Picasso
Museum
500 sculptures, graphics, drawings and paintings given by proud countrymen. Some came from unknowns, and
that holds
one
is
due
to the efforts of
him
that given
his works, the
a gift of Surrealist Salvador Dali.
The museum
— many at least
itself is largely
Jaime Sabartes, who devoted to the project three
years of his time and 427 pieces given
him by Picasso since
their
boyhood. Together with the mayor of Barcelona, Sabartes persuaded the city officials to donate a 1.5th Century Gothic palace in the Calle
de Montcada, a street in the district where Picasso lived as a youth.
More works have been promised from Picasso and from collectors, among them the series on Las Meninas, which Picasso still owns. When the
museum opened
in 1963, in the face of official silence, the
museum
press covered the event with fanfare, and the
Spanish
Picasso no longer speaks in
He
well visited
voice as he once did to practicing
full
has ceased to innovate or surprise and he no longer leads
to create paintings, sculptures, engravings, etchings, lithographs
— and
with stunning diversity. In an era marked by repeated innovations, he
And
in the forefront for nearly half a century.
lifetime of
work continues
painter has lived since
to enrich
World War
I
museum
of
modern
art
artist to
Perhaps the best summation of
among whicli
il
who
Company, the sculpture was based on Picasso's 42-inch-high model (nhovc}. which
he later gave to The Art Institute of Chicago. Picasso, in his customary refusal to explain his
work, has never identified
praise
represent the head of a
artists.
woman.
Hardly a
has not taken Picasso's work
anywhere
it
from
in the
his curriculum;
Western world
his genius has
it.
Greeted by
and derision, the sculpture may
lacks
been given by his good
More than 30 years ago she wrote: "He alone
painters did not set himself the problem of expressing truths all
the new
""My warmest friendship." So huge that
an example of his production.
friend Gertrude Stein.
at
piece had been
the citv. which he
the legacy of his
and inspire other
into account; not a student of art has omitted
scarcely a
donated bv the
The
had to be constructed by the American Bridge
the vanguard. But past the midpoint of his ninth decade, he continues
was
Civic Center in Chicago.
had never visited, but which he greeted with is
both by Spaniards and by tourists.
artists.
In August 1967, a 50-foot-high steel
sculpture bv Picasso was erected
the world can see, but the truth which onlv he can see."
153
I
icasso's later
works have none of the revolutionary
character of his earlier periods.
new art movements of recent years
involved in
Expressionism, to explore the
Op and Pop Art
.
world around him
â&#x20AC;&#x201D; Abstract
Rather, he has continued in
stamp of his maturity
that bear the
The
He has not become
decorative paintings in
thesurenessand
Enduring
Themes
inveativeness of their line, in the broad freedom of their color,
and
in
the enduring qualitv of their themes. Again
and again he has returned to subjects drawn from personal
life
â&#x20AC;&#x201D; women, mothers and children,
his
his
home
and, above
all, art itself.
a variation
on an old master, he has attempted to come to
In pictures like the one at right,
grips with the historvof art.and tried, his special place in
His vigor
is
it
seems, to find
it.
undiminished: during the two decades since
the ending of ^^ orld
\^ ar 11
an almost constant stream of
sculpture, drawings, lithographs and even an entirely
new form
for
him
ceramics
â&#x20AC;&#x201D; have come from his hand.
principally of paintings
and scu
I
pt
one critic has estimated that over created
u re,
is
phenomenal
Century Spanish master who has :
his career Picasso has
some 50,000 works of astonishing variety.
Picasso has said that "to search
In this imaginative reworking of a portrait by El Greco, the 16th
His productivity, which, as always, has consisted
been a strong influence on Picasso for
means nothing in
painting.
To
find
is
the thing."
selection of his
own
On the following pages
statements,
154
art.
much
own distinctive
of the
it
stylistic
lansuage.
a
made at various times I'lirlriiil
during his career, about
years,
but Picasso has translated his
aresomeof the things he has "found." along with
many
original remains clearly intact,
1950
iijd I'ainlcr iiftrr El Orcco,
into
155
First Steps.
156
1943
he theme of maternity work.
He
has treated
it
is
a strong
in several
and
lasting
one
media and several
works shown here suggest. While the war was Picasso painted the hopeful scene
at
the far
still
left,
in Picasso's
styles, as the
two
raging in Europe,
of a child learning to
walk with his mother's help. The women's sad eyes and the jagged the times, outlines of the child's body convey the grim atmosphere of but a sense of optimism
is
clear.
When, at the age of 67, Picasso himself became a father again, he made the amusing sculpture below. It is created from scrap materials
â&#x20AC;&#x201D; Cocteau once called Picasso "King of the Ragpickers"'^a broken-down baby carriage, pot shards, a gas ring from a stove, all miraculously united into a charming and convincing image. When asked about his habit of precipitously switching from one to another, sculpture to painting, for example, sense that they Picasso had said, "Pictures are never finished in the usually come They framed. and signed be to ready suddenly become
form of expression
to a
hah when the time
is
ripe,
because something happens which
breaks the continuity of their development. often a good plan to return to sculpture."
When this
happens
it
is
:
:
u
'ndoubtedly the greatest single source of inspiration
throughout Picasso's long career has been the shared his
Franfoise Gilot, and Jacqueline Roque,
The
1961.
women who
Since the war there have been two
life.
statue of a pregnant
woman
whom
at right
he married
in
was inspired
by Frangoise. She recalls that Picasso wished her to have a third child, but that she did not
want
to.
So, expressing his
wish in the way that he knew best, Picasso made the sculpture
many
â&#x20AC;&#x201D; the very quintessence of pregnancy. As with
of his late sculptures, he started this one with
"found" objects a trash pile
â&#x20AC;&#x201D; three water jugs that he picked up from
form the basis for the
and swollen
belly.
figure's
rounded breasts
But when the piece was cast
in
bronze, the objects had been so carefully modeled into the
form that they were no longer recognizable.
The painting of Jacqueline on the opposite page many,
in a
is
one of
wide variety of styles, in which Picasso has
explored her fine features; a long, straight nose, large eyes
and an elegant neck. He has portrayed her in naturalistic drawings and wildly colorful, almost abstract paintings, each somehow capturing a sense of the woman. Picasso
is
loath to talk about technique, but one of his rare statements
on the subject applies peculiarly well
"When you draw .
.
.
If,
to this portrait
you must draw
like that
head.
Ingres drew like Ingres, not like the things he drew. for instance,
there
is
a goat,
goat. Well, is
a head,
you need a
round, the
tree.
different
little girl is
yet people draw false.
you take a
all
little girl
tending the
drawing for each. The goat
square, and the tree
is
three in the same way. That
Each should be drawn
158
At the foot of the tree
and beside the goat a
in a
a tree. is
And
what
is
completely different way."
I'ortrait
ofJ.R. with
159
Rosr.s,
1951
Diego \elasquez:
La
Menirui.s,
1656
many variations on old among which are 44 versions of a Velasquez
I icasso has painted
masters,
court scene (above). At the right, he has transformed
Velasquez' mastiffinto a dachshund, his family pet.
Elsewhere he showed the boy in the foreground
playing a piano while hanging like a marionette. "I saw the into
boy with
little
my head and
1
had
a piano.
to put
it
The piano came
somewhere. For
me he was hanged so made him hang. Such images come to me and put them in. They are part of the I
I
reality of the subject. Reality is itself.
in
I
always look for
its
more than the thing
superreality. Reality lies
how you see things. A green parrot is and a green parrot. He who makes
salad
parrot diminishes
its reality.
A
painter
tree blinds himself to the real tree.
otherwise.
A palm tree
I
also a green it
only a
who copies a
see things
can become a horse.
Don
Quixote can come into Las Meninas."'
Ims Menmns, October 3, 1957
160
161
I icasso's
environment has always provided him with a
source for
art.
When
cramped Paris atelier
he was 19, he immortalized his in
he has lived and worked.
some are
not.
Some are obviously
"Nature and
art are
Picasso once declared. "In art
of what
is
two
in
which
recognizable;
different things,"
we express our conception
not visible in nature."
Shown here are two
them, that were painted of
Californie,
The Blur Room (pages 26-27). and
over the years he has regularly painted the places
calls
"interior landscapes," as Picasso
his
his Riviera
where Picasso provided
a
house La
dovecote {right) for
beloved and familiar pets. In the picture below, the
flower petal-like
windows of Im
Calijornie serve as a
decorative backdrop for the artist's cluttered studio room. At the center,
commanding
blank canvas.
It is
a perfect
the viewer's attention,
often excruciating, challenge: painter
is
a
"The most awful thing
for a
the white canvas."
The
162
is
symbol of an unending, and
Sluiliu al Cniine.s.
1%6
Ihc I'l^rims. N-nlruibcT
163
I
I.
1%
one of
krt itself is
Picasso's most frequent subjects.
And nowhere
has
he expressed himself better than in a series of paintings.
"The
Artist
and His
Model," one of which
shown
is
here. In this version,
the painter, wearing a hat
and ornate boots,
is
seated
before a heavy easel, his
dog at
he
his side:
is
and
in
The model,
of the world.
on the other hand, diaphanous;
is
like a vision
she becomes a part of the
background, perhaps expressing Picasso's notion of theelusiveness of art. the painter's real subject.
Yet Picasso's
art is
never
wholly abstract; he always gives clues to his subject.
'You know,
it's like
You want
being a peddler.
two breasts? are
\X ell.
â&#x20AC;&#x201D; two breasts.
necessary
is
who
at
looks
here vou
\^ hat is
that the fellow
should have
the canvas
hand
at
may need:
everything he
you must be sure
it's all
Then
there for him.
he'll
put everything in place
with his
own
eyes."
Making '"sure there"
is
it's all
an unending
problem for Picasso, as for all artists. is
"Worst
it
is
of all
that [the painter)
never
finishes.
There's
never a moment when vou can say
"I've
worked well
and tomorrow
is
Sundav." As
soon as you stop,
it's
because you've started again.
You can
put a
picture aside and say vou
won't touch
it.
But you can
never w rite "The End.'
164
"
//«•
IrU.st
and
Ills
\loiM. April
165
li-t).
IM03
A Portrait of the Artist
Picasso
is
the most successful artist of the 2()th Century.
directors, commercial art dealers
Museum
and wealthy connoisseurs
vie for possession
of hiscre3tions, and prices for his major works have soared into the hundreds of thousands of dollars. His Blue Period painting, Molhcrand Child al the Seashori'. for
example, was sold
price ever paid for the led to a
other
in
work of a
1967 for a staggering
more thorough documentation of Picasso's
arti.st
$5.^2.()(K)
the highest
living artist. This astonishing popularity has life
in history. Scholars, critics, journalists,
an
and
art
Army
than that of any
pfc,
two
ex-mistresses, and a world-famous psychoanalyst have dissected every aspect
of his
many
styles, shifting
moods, daily habits, and even his love
hundreds of books and thousands of articles, written
The
portrait of Picasso created by this deluge of
in
affairs, in
every major language.
words has been given an
additional dimension with the aid of photo journalism. Noted photographers like
Arnold Newman, who made the portrait
at left in Picasso's villa at
on the French Riviera, have been permitted on occasion
to
Cannes
breach Picasso's
self-imposed isolation. Another famed photographer, David Douglas Duncan,
was even more fortunate, off and
for he spent better than three
months with Picasso
on duringthe mid-l9.50s. Duringthis time, Duncan shot more than
10.000 photographs. This huge collectionâ&#x20AC;&#x201D; sampled on the following pages
â&#x20AC;&#x201D; shows Picasso
at
work and with
his family, his friends
inlinialc anil detailed portrait of art's
most celebrated
and
his pets in
an
figure.
167
Lithouiih Picasso has allowed hirnseli to be
photographed
in his leisure
to permit professional
of
him
at
work:
moments he has
often refused
photographers to shoot pictures
iisuallv
onlv intimate friends and members
of his family were granted that privilege. But after a time,
the artist accepted
Duncans constant
but unobtrusive
presence during the creative process. In the sequence
below Picasso completes a painting called
Tlir
Hciuh
(it
)
GaroujH'.
showing
a snorkel-nosed skindiver
Jar leji
(
Unlike adults,
who must remain
they please. But
from
and four other swimmers. silent in the studio
while the artist works, youngsters are special and can do as
Paris,
when
Picasso's children
where they
lived with their
Gilot, the artist put aside his
came
to visit
mother, Frangoise
work and romped
in his
studio with Paloma, eight, and Claude, ten (overleaf).
\
I icasso's
through
home
its
is
a child's paradise. Scattered
rooms and jamming every available surface are
such intriguing items as bizarre masks, bugles, guitars, ladders, oversize hats,
wooden
crates the size of playhouses,
and boxes of tantalizing bric-a-brac. To Picasso every object
is
a possible subject for a composition, but to
children they possess the exciting lure of an inexhaustibly
stocked toyshop. In the pictures
shown
here, Picasso, like a tvpical father,
became an incurable ham actor when Claude and Paloma arrived for a
visit.
Making use of various "props,"
moment he donned a cowboy
hat
at
one
and squared otTwith
Claude; another time Picasso's famous pet goat stole the
show
as Jacqueline, the artist's wife (center, beloiv),
entertained Paloma
(left
)
and her
friends.
Quieter temptations lay about his studio
â&#x20AC;&#x201D; sheets of â&#x20AC;&#x201D; and
blank paper, colored pencils and brimming paste pots
while the master cut a linoleum block for a poster for a
forthcoming exhibition, Paloma
fn'^/i/j
crayons and became absorbed in her
found
a
own work.
box of
.
:i^^^^
>
^^
I icasso's artistic wizardry has
the most
make
enabled him to
pieces for
As shown
utilize
commonplace subjects or transform others
to
which collectors have paid dearly. Over
the years he has fashioned a guitar from bits of string, nails,
in the
two-row sequence of photographs the skeleton from his plate and
above, he
first lifted
pressed
into the clay to
it
form
fossil-like imprints.
and a newspaper; a mother baboon's head out of a
"fillets"
and then daubed
a large unfired platter with paint.
toy car; and a charming assemblage from a pin, a
Two
few matches and a butterfly.
the plate, and, finally, the piece was prepared for
One of these
la
meuniere
â&#x20AC;&#x201D;
fish in
(opposite),
moments
urncd with a slab of moist potter's clay.
later
firing.
photographer Duncan artist
reassured him "Don't worry, Dooncan, those colors
morsels
:
an idea struck him. Suddenly he jumped from
the table and dashed to his studio. A few rcl
last
for, as
observed, Picasso's ceramic looked drab. The
butter sauce. As
he methodically stripped the skeleton of its
of the clay fossils were then pressed directly onto
Something was missing,
magical feats occurred as Picasso was
lunching on soled
Next,
using a knife, he trimmed the excess clay from his
he
all
change
That
in the fire u|i at the kiln.
will be blue.
Hnl won't these
they discover they've
lo.sl
llieir
This
fish
will
will
be emerald.
be surprised
when
bodies somewhere.'"
175
Knl-nnd- U hile Owl. 1953
Screech Owl. I94Q
Masquerade
^^^eramics had become duriiiH the 1940s, kilns at V allauris. village in
â&#x20AC;&#x201D; i)ul
iiilli
the llend of a
part of Picasso's repertoire
when he visited, for the second time, The pottery of this unprepossessing
the
southern France had been known ever since the
days of the ancient Romans. Jugs, pots, plates and
compotes made from the
from the wheels of
fine,
abundant clav had flowed
local artisans.
Picasso's pottery has taken almost as his sculpture. At times like the plates
Bull/i^hl
and
Sjjerlalor.s.
176
195
Ttm Hsh. 1957
many shapes
as
he has made household utensils
and jugs shown below. While these objects
llradoja
Hull. 1957
Man. 1953
I.nd\ inlh a \hnlilla.
1949
Seated
oman, 1953
11
turned their handles into
retain their basic utility, their surfaces, decorated with bulls, fish
and other favorite subjects,
basic forms to
recall his canvases.
At other times he has fashioned such charming pieces as the owls (above,
left )
that have
in faces
some
no other function than
that of decoration.
Perhaps Picasso's most fascinating creations
()
in this
make
onmii
human
in a
Lmii
Omn.
will,
Loose
arms, reshaped their
breasts, waists
and hips, then painted
and dresses. Finally he added
a brilliant finish
â&#x20AC;&#x201D;
glazes
â&#x20AC;&#x201D; and sent them offto the kilns of Vallauris
fired.
For Picasso, creating such pieces
is
to be
a delightful
exercise in whimsy. But his immensely popular
but were transformed into something else by Picasso's
contributions have widely revived interest in ceramics
nimble imagination. The three pieces (above,
as
example, were vases before they were women. Picasso
Medley
oj Hulls.
IT.a
an
art
form and more
specifically
brought new prosperity
to the potters of Vallauris.
Doiihle
I
,Âť,-,..
in
pieces unique combinations of colors and
medium have been those that were launched as one thing ri^litj for
llair.
1952
hirLieliird.
177
I<)()l
1953
V^ince the dawn among
of his career, bullfighting has been
Time and again he some of his most brilliant
Picasso's favorite subjects.
has returned to that spectacle in creations.
The most comprehensive treatment of the in the 1950s, when he produced 35
sheet oi copper (above). Then, after he etched the images
was printed. The show the emotion-charged
into his plates with acid, each scene
three prints at right, which
opening procession, a pirouetting banderillero, and an
theme was made
unlucky matador being gored, are stunning evidence
etchings to illustrate a classic text on bullfighting.
of the
First,
he painted each composition on a mirror-smooth
economy and
each figure
is
barely
precision of Picasso's brushwork, for
more than
a stroke, a dot or a flourish.
^#
<>
,
,
^
179
'JSS^^
^
.i/'
advancing age and the time-consuming demands that
accompany fame have conspired gregariousness. Since
the seclusion of his
home and
The
limited to friends.
against Picasso's
World War
II,
he has settled into
his visitors
have been
writer Jean Cocteau (who died in
1963) was one of the most frequent of Picasso's callers, and
on one occasion the two took turns hammering out a lusty tune on an African marimba (opposite). Picasso has also enjoyed the
and the (right)
late
company of movie
Gary Cooper was one of
once presented the
artist
stars,
his favorites.
Cooper
with a Colt .45 revolver,
and the two men passed the afternoon gleefully blasting
away
at a tin can.
actors
Neither could
below) paid a
visit,
it.
When
chose not to take
come
to
French
(at
left,
on the occasion pictured here, a
heated argument about
these
hit
Simone Signoret and Yves Montand
Communism
erupted, but Picasso
sides. After social interludes
such as
an end, Picasso reclaims his solitude,
at
others to ponder completed works or to
times to work,
at
dream of those
still
to be
born (overleaf).
'^'',
ir\
^^w
lC^W^;>*^^
APPENDIX
Chronology: Artists of Picasso's Era
SPAIN
I'RANCK
JULIO GONZALEZ 1876-1912
PABLO PICASSO JUAN GRIS
PIERRE PUVIS DE CHAVANNES
GUSTAVE MOREAU
1881-
i
JEAN-PAUL L/URENS
7-IQ27
18J
JOAN MIRO
PAUL CEZAN !.E
1893-
SALVA IJlOR DALI
I9()f,.|
ANTONIO TAPie
CLAUDE MO
PAl L GA
LMBERTO
lOM
B(»(:(
GINOSEVERIN
GIORGIO
MO iANDI
ARl; riDE
HENRI MATISSE
186|7-1947
JEAN TINGUELY
RAYMOND
19
DUCII
l¥(ONEL
klP-\ILLON 1876-1913
\
1858-192
FRANCIS PICABL-^
1867-195(1,
ANDRC DERMN
KEININGER 1871-1956
FRANZ MARC
1
8);i
II9I6
ERNST LIDWIG (IRCHNER
MAX BECKMA ^N MAX ERNST
1881-1953
FERNAND LEGEF
1881-1955
1882-1960 1882-1963
LOUIS MARCOl SSIS
1891-
JEAN METZ1N(;1R
1904-
WOLKCANG SCHULZE WOLS
ROBERT
1913
DKl.Al
ROGER DE LA (;()(;h
(880-1954
ALBERT GLEIZES
GEORGES BRAQIJE
I>
LE CORBl SIER
1853-1 W((
MONDRIAN
187
1879-1953
AUGUSTE HERBI N
1880193!
1884-1950
HANS IIaRTUNG
?IET
11871-1958
1B75-1963
KEES VAN DONGE M
E« IL NOLDE
VINCENT VAN
1868-1910
1869-11954
JACQUES VILLON
19(1
GERW \NY CORINTH
1861-1901
1861 1944
QEORGES ROUAULT
ALBERTO GIACOMETTl
I
N\V
1885-1911
1
ANDRE MA5S0N
1860-1949
PAUL DEL^AUX
YVESTANGUY
1897-
RENE MA' RITTE
1887-
ENGLAND
1900-1955
JEAN BaZAINE
BEN N IClUlLSON
HENRY MOORE
V ICT<)R
19011904-
EDOUAPD PIGNON
1894-
1905-
\LTH1 S ilUl.THAS.J R KLOSSOWSKY)
1898-
CRAH \A SUTHERLAND
PASMORE
19()|i
1908
1912-1
MCOL\S DESTAEL
1914-1
1910
PIERRE SOULAGES
LAN DAVIE
1920
GEORGES MATHIEl
and conlemporaries are grouped
1
KRANdOIS GROBER
BACON
FRAPtCIS /
18911896-
JEAN DU BUFFET
1898-1967
1887
1966
JACQUESLIfCHITZ
JAMgS ENSOR
I9H
KKSNA"! E 1885-192.
MARCEl, DUCH AMP
1895-
M
IHHt
1883-1956
HARLES EDOUARD JEANNERET) JEAN ARP
18^ 2-1944
BRAM VAN VELDE
Picasso's predecessors
MAILLOL
EI)0UARD VUILLARD
PAllL KLEE 1879 1940
II
1859-1 )91
PItRRE BONNARD
TH£( PHILE STEINLEN U 59-1923
HOLLA
RAT
PA l|L SIGNAC 1863-1935
1888-
1890-196-1
It/KRI.AM)
LOV
1844-1910 1848-1903
HEN HI TOULOUSK-LAITIEC
;i.l\NI I8ai-I920
GIORGIO DE :H1RIC0
GUIN
:iESSEl
1882-1916
1883-1966
AMEDEO MODI
1840-1917
[ET 1840-1926
HENRI ROI SSEAU
rTAI.V
1838-1921
1839-1906
AUGUSTE RCDPN
1904-
DOMINGUEZ
OSCA
1824-I8V8
1826-1898
19(1
chronologically according to country. The hands correspond to the life-spans of the artists
/
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Van Vechten. (iirl. .SV/cr/«/ H ritings of Gertrude .'item. Random House, In \nllard. A.nbroLsc.K.vW/„7„m>„/„ Picture Dealer Little, iirnwii & Co.. 19:
18.5
—
—
Kahnweiler. Daniel-Henrv. The
Bibliography
(continued)
Histori- oflmpres.'iionism.
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ille
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Richardson. John,
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CATALOGUES
Hommagea
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Ri.-~>-
Rewald.John:
[)oubledav
& Company,
Sypher. Wylie. Rococo
eds., .An
Museum
\ouveau.
of
Modern
Art and
Inc.. 1959.
to Cuii.OTi
Art
in
and
Vintage Books.
Literature.'
1960.
Courthion. Pierre;
Art Council, 196.5.
Montmartre. Albert Skira. Geneva. 1957. Paris in
ART HISTORICAL BACKCROCND
Our Time: From
lmpre.v,ionism to the Present Day. .Mbert Skira.
Geneva.
1957. Fry.
Edward
Cubism. McGraw-Hill Book Company, 1966.
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Herbert. Eugenia
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ittenbom.
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Artist
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The
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ar.
II
&
Row. Publishers! 1961.
Dangerous Comer. Abelard-Schuman,
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Ltd..
19.59.
Acknowledgments For their help
production of this book the author and editors wish to thank
in the
Museo
the following people: Juan Ainaud de Lasarte. Direclor.
Picasso. Barcelona;
Luis .Alegro Nunez. Director. Escuela de Bellas .^rtes. Real Academia de San Fer-
nando. Madrid; J.
Madame
D. Bernal; Mrs.
Superintendent.
Odette Arnaud; Rene and Claire Baligne: Heinz Berggruen;
Demaree
Bess: Sir
Nazionale
Galleria
Cinci-Peliicer; Salvador
Anthony Blunt:
BrassaT;
Palma
Rome; John
Moderna.
d'Arte
Bucarelli.
Carter:
David Douglas Duncan; Juan Caspar
Dali;
A.
Paronelia.
Director. Sala Caspar, Barcelona; Maurice Jardot, Director, Galerie Louise Leiris. Paris: Daniel-Henn.- Kahnweiler: Louise Leiris; Federico
Mares Deuloval, Direclor,
Escuela de Bellas Artes y Oficios de Barcelona: Slavros Niarchos: Josep Palau I Fabre: DrueTartiere Parsons; Natalie Perrone: Jaime Sabartes; Eleanore Saidenberg; Pierre Schneider; Jose Selva \ives. Assistant Curator. Museos Municipales de Barcelona; Timothy Simon; Germaine Tureau, Chief, Section Commerciale de la Phototheque M usees Nationaux, Paris; Jean and Nicole Valdevron: Marie-Therese Walter.
des
Picture Credits The sources jar the
illustrations in this
giien the original source
.All
is
book appear belou.
unknown or the owner wishes
from
t'redits for pictures
left to
the works of Pablo Picasso which appear in this book and the work by .Auguste
SPADEM,
Renoir on page 21 are published by arrangement with
right are separated
by semicolons, from top
to bottom
by dashes.
he
If
J cretiit for
a pictu
anonymous.
to remain
by French Re-
by Chnstian Zervos, Cahiers d'Art. Pans. 1954. Vol.
—The Museum
— Dmitri
production Rights, Inc. The works on pages 56, 72. 93, 95, 97. 98-99, appear by
Basel
arrangement with .AD.AGP. bv French Reproduction Rights.
Heinz Zinram.
of
Modem 87
Kessel.
84— Dmitn
Art.
— Eric
Schaal.
88
6.
plate
— National
Gallerv
82.83
1429.
85— Galerie
Kessel.
Beyeler,
of Scotland:
89— Karl Roodman. 90— Dmitri Kessel— Pierre Boulat: Pierre 91— The .^rt Institute of Chicago. 92— The Solomon R. Guggenheim Museum. 93— The Museum of Modem Art. 94,95— Pierre Boulat; Philadelphia Museum of Art— A. J. Wyatt. 96— Pierre Boulat. 97— Cliche .Musees
Inc.
Boulat.
Pierre Boulal
slipcase:
CHAPTER
6— Ediciones Poligrafa. S.
I:
— David Douglas
12
Duncan.
.\.,
— La
8,9— Pierre
Barcelona.
Phototheque.
13
— From
10,11
Cailler.
Pablo Picasso by
14,15— Foto Mas David Douglas Dun-
Christian Zervos, Cahiers d".Art, Paris 1954, Vol. 6. plate 47.
except third from top right O'Hana Gallery, London.
17
—
—
— courtesv
18- .Augusto .Meneses. 19 can. Upper left Apolinar Gallardo 20 YromPicasso en Calaluha. Ediciones Poligrafa. S. dre Held.
21— Ciraudon— Giraudon— Scala. 24
— NationalGallery of
.Art:
The
An-
Barcelona.
.A..
22.23— Augusto Meneses; Yves Debrame.
-Metropolitan
Museum
of
.Art
— National
Gallery
25— The Metropolitan Museum of An. 26.27— Henry B. Beville. 28— David Douglas Duncan. 30— The Museum of Modern ArtAndre .Martin. 32 — Bottom Kohlhammer-Bildarchiv. Stuttgart. 33— Augusto Meneses. 35— Bottom H. Roger Viollel. 36— The Baltimore Museum of Art —
of
.Art.
CHAPTER
2:
The Museum
Modern
of
.Art.
37
—Joe
McKeown
Stein Collection. Yale University Library.
41— Yves 45
Debraine.
— The Solomon
47-Scala. Schilf.
CHAPTERS:
R.
42.43— Pierre Boulat. Guggenheim Museum.
N. Abrams.
57— From
— The Art
Inc.,
Institute of Chicago.
50— Scala— John
Henri Rousseau by Dora Vallier. Harrv
.New York. I9frt. plate 69.
372— Matt
Greene.
56— Galerie
58—Galerie
66— The Metropolitan Museum
David Douglas Duncan
— The
— Gertrude
Museum
of
of
Louise Leiris. Paris.
d'.Art, Paris.
Maeght. Paris.
.Art.
Modern
67
1942
\ ol. 2.
65— Robert
—Giraudon; A.
J.
S.
Wyatt;
Art: courtesy Editions d'Art
68-The Museum
Albert Skira; David Douglas Duncan.
of
Modern
Art.
69—
Augusto Meneses; Don Getsug from Rapho Guillumette: Pierre Boulat— Phototheque Musee de
W yatt-Pierre CHAPTER
4:
rHomme;
Boulat:
72— The
Robert
S.
The Museum of
Crandall: Pierre Boulat.
Modem Art. 74— La
Art Institute of Chicago.
Pablo Picasso by Christian Zervos, Cahiers
405— Cliche
Musees Nationaux.
Museum
Modem
of
186
5;
102— Hence
100,101— A.
Art Gallery.
104— Courtesy
Griffith.
J.
Wyatt: Lee
Marie-Therese Walter.
105—
Grunwald Graphic Arts Foundation, Universitv of California by Ivor Protheroe. 106
— Brassai.
107
— Eric
Schaal
Jaime Sabartes, Prentice-Hall, Intimate Portrait
— Museo
— from New
Inc..
Picasso,
Picasso,
York,
Barcelona.
.4n
Intimate
Portrait,
by
^948— also 108
from Picasso, An Museum of Modem 115— Lee Bohm-Fogg Art
— The
109-Lee Miller. 13,1 14— Pierre Boulat. Museum. 16,1 17— Scala: David Douglas Duncan. 1 18-120— David Douglas Duncan. 121— The Museum of .Modern .\rt — Robert S. Crandall: David Douglas Duncan; Pierre Boulat. 122— Scala. 123— The Museum of Modern Art. CHAPTER 6; 124— Pierre Boulat. 126— The Museum of Modern Art. 127— Top Art.
1
1
hom
Jane's All the
H orld's 130
La Phototheque.
Aircraft.
— Galerie
1938 Volume.
Louise Leiris, Paris.
128— Lee Miller. 129— 131— La Phototheque
Dmitn Kessel. 133— Derek Bayes. 134-136— The Museum of Modem Art. 137-139— The Museum of Modern Art bv Soichi Sunami. 140,141— Pierre Boulat: David Douglas Duncan Robert S. Crandall. 142 Brassai Galerie
—
—
—
143— Photo Chevojon. 144— Arnold Newman. 147— Robert Capa from Magnum. 148— From Picasso, .55 ) ears of His Graphic .Art, Harry N. Abrams, Inc., New York and .\msterdam. 1965, plate 122— The .Museum of .Modern Art. 149— The .Museum 1.50 of Modern Art. From An in Posters by Femand Mourlot, George Braziller. New York, 1959. 151— The Museum of Modern Art. 152-Scala-Pierre Boulat. 153— The Art Institute of Chicago. 155,1.56— Pierre Boulat. 157.158— Louise Leiris. Pans.
55— From
Pablo Picasso by Christian Zervos. Cahiers
part 2. plate
Crandall.
-16
48.49-National Gallerv of Art; Dmitri Kessel.
51— LeeBoltin. 52— A. J. Wyatt.
38
Time.
for
39— The Baltimore Museum of Art. +4— The Art Institute of Chicago.
98,99— Albright-Kn'ox
Nationaux. Boltin.
CHAPTER
d'.Art,
70.71— A.
J.
7:
—
Dmitn
1.59— David Douglas Duncan.
Kessel.
can except top
left
Paris,
1942,
Vol.
76— From 2.
plate
Manso.
160.161— David Douglas Dun164.165— Pierre
162.163- David Douglas Duncan.
168-175— David Douglas Duncan. 176— Yves Debraine courtesv Mr. and Mrs. 177 Leiris, Paris; Yves Debraine. Eddy Van Der Veen; Henri Mardyks: Henri Mardyks Yves Debraine: Henri Mardyks: Eddy Van Der Veen. 178.179— David Douglas Duncan; Cosmopress, Geneva, courtesy VerlagGerd Hatje. 180-183-David Douglas Duncan. Boulat.
166— Arnold Newman.
Eddy Van Der
Phototheque.
77— The Museum of Modern Art. 79— The 80— Bottom from Pablo Picasso
.Art— La Phototheque.
CHAPTER
S.
V'een
except center
—
and G. Ramie; courtesv Galerie Louise
—
1
Index a picture of the subject mentioned. Unless otheruisc
:\uinerals in italics indicate
Dimensions are given
in inches
rXbsuUlie Drmlser. The. 24% x 3 1
'i.
of Picasso painting. 168-169
oil
on canvas, 41 Abstract art:
Beauty. Picasso's concept
Cubism and,
d* Avignon, 64-65, 70-71
Bilbao, retrospective Picasso
S'/i"
x 35't". oil
on can-
92
Blue Period
54,67.69
man
ink and colored pencil,
Altar Boy. The.
29"/!
125
.'i/.
x 19%. oil
Anatomy, Picasso's distortion
Picasso's reactions at death of. 79;
so's project for
monument
to.
portrait of
Arlesienne,
ism, spread of, 60-61
Dada move-
;
ment, 82; Fauvism's concept
of,
39;
Futurism, 7,61; in Barcelona, 12; Picasso's remarks on, 154, 157, 158, 160, 162, Ifrt; Surrealism, 82-83
Us
Guernica. 127-128: reactions to Demoiselles d' Avignon, 64
Art Nouveau, 30 Arte Joven
( )
and His Model. and
his
Book
The.
4'3''«" x 6'
Wlwn^.
21" high.br,
miration for. 83
76;
x 4'3'/i".
on canvas. 36. 5/
oil
Boy on a
18%
Horse.
Boy
39%
x 32.
ml on can-
Cezanne's influence
Pierrot
and Harlequin, 115
Barcelona, 12-13; Ballets Russes 78; Picasso visits to,
Museum,
153; Picasso's
31,33; Picasso's youth and
training, 10, 12-1.3, 14-15, 21; retro-
spective Picasso show, 109 lavoir. Picasso's first
home
in
Bathers (Cezanne). 9'* x
ograph.
1
1'ri..
lith-
Bathers. The. 9'n x 12'.. pencil.
/
15
life,
Man
56. 87:
with a GuiJar, 61, 93:
/Ac Kurhni
146
12,
/
on
andjourn). 95: photograph .58;
Pitcher
and
Curtain for Parade.
during Rose Period, 35-
81
;
Family of Acrobats with
Breton. Andre. 82-83
Comte
tions for Hlsloire Naturellc. Bull, top:
1
1% X
I
15'/i. 1
I
'»
x
\W
lithograph.
KA,
IH
X 25'/2. oil
liihograph.
on cardboard
mounted on panel. 23 and Spectators, 15% diameter,
Bullfight
/
76
Bullfighting,
favorite
/
78-
1
79: in ceramic plate,
Biiruil
x
16'''ii,
(ifCasngemas. The
Bust ofSaharlcs (19111),
/
76
bronze, 130 .Sec 19'-.
oil
on canvas, 69
Daumier, Honore, The
view.
in. .38.
1
12, 151
;
of.
with
/JZ
1
1':'"
Ballets Russes production, 75, 76-78
Cubism
of,
97;
high, bronze, side
front view!
Manuel. Threc-Corncred Hal.
Falla.
Us, 8* x 7'8", on canvas, 53-55, 70-71: Braque's
Demoiselles d\-\vignon. oil
first
reaction to. 86; detail. 6^1-65;
83. 119: invention by Picasso, 63,
Derain. Andre, 39, 63
Design for Sculpture.
97; Fauvism's concept
of,
39: in Im-
monochrome
Cubism, 57; Picasso's
in Analytical
use of, 35, 38, 46, 64
8'i, pencil
25'/: X 2r'8.
on
of, 79;
produdion of
/*rt-
rade. 112 x 12, pencil,
Distortion of form: during Picasso's
Blue Period, \hi
x 18%,
pencil, 79
13
(I),
Composition Stuily for Guernica.
x 28*-t, cray-
24%
Diaghilev, Sergei, 75, 80; Picasso's
"Diploma drawing," 19%
Composition Study for Guernica. 1937. 10% x
36%
on on canvas, 85 DiaghilevandSeligslierg.
drawing
Picasso and, 145, 149-
151; poster for, 150
re-
in fji Ret oltilnm Siir-
83
realiste.
94; use in sculpture by Picasso, 151
1937.
/ /.(
80
production
imitation of. in The Three Dancers.
1.
Follies of Paris.
Delaunay. Robert. 61
scenarios for
blue paper, 135
one of Picasso's
Dancer. 59 x 39'^,
Degas. Edgar. 26
Collage: addition to
1,
Pi-
124
Debussy. Claude. 75
12
casso, 76, 78,
May
x 64'/;:
Salvador. 153: Purtnnl of
ali.
De
Classicism, Picasso's interesi
Communism, 19'/..
Da
Death's Head.
drawing, 36
pressionistic art, 29; /
IH
Bull/ight,
Paradehm-
Color: addition by Cubist painters of,
de. Picasso's illustra-
.39''i
19
Picasso, 18U: relationship with Pi-
use of lettering and trompe Toed.
Braque oL 86:
npen
casso,
Cocteau, Jean: photograph
of, in
iolm. 60;
I
tion by Picasso and
60, 63
/ /
4 7: Family uf.Salttnihnnques.
1
91: realism
Leo Stein on, 39; Synthetic Cubism, 8'2''2". oil
Circus scenes, Picasso's representa-
83, 105,
9(),
and, in Picasso's work, 115: Satie's
77; Study far Les Sallinilmnqacs.
56; House at fEstaque,
l\u,
4ci-
music and, 75; simultaneous inven-
lesque, costumes and curtain for,
86; Fruit Dish and Glass, 63;
Bulfs Head, I6'A
Benihal (Mrou/ir. The. phlllclgraph^
Still
88
Charnel House, 6'6%" x
Circus
growing
as step in evolution of, 64;
57, 59, 63, 73, 74, 85,
H8
Frail.
,S/,// /,,/,-.
7_',
h., dii. I.uerni-
Itcmnsdlcsd'
origin of term, 86; Picasso and, 7,
on Picasso, 57;
Chardin, J.B.S..
60.
,iiid.
/,-s
lettering as standard practice of, 62;
61
in.
29, 56; Bathers. 55.
Jug of Milk and
tion of: The
subjects, 10; drawings, 78; etchings,
.55. 7(t
70: influence
7,
63. 79. 86. 92. 94; Cubism, invention
ceramic.
Paris, 34, 35, .36, .59
gnon
48-49: The Jester. 49:
Bull.bnnnnv.
at,
Vallauris. 148-149. /76-/77
80-82; early geo-
of adhen ni-
caand, 126;
ship with Picasso. 56. 58-59, 61-62.
Buftbn.
12; in Three-
number
Braque's vacation
sale,
group, 63; Gri^
in. at
.ipe,
dancers, 77; in Le Train Bleu. 1161
ArtCstica. Picasso's
on. 56; collaboration and relation-
Brossa. Jaime. 12
117: in Parade, 76-78,
Catalunya
Ceramics. Picasso's work
36, 40. 46. 49, 105
tion with, 75-78, 112; drawing of
Cornered Hat. 79-80; sketch of cos-
metric forms. 86. 87: Golden Section
canvas, 132,
50
movement and
94, 97; decline of
Kahnweiler
Devil," drawing,
icUh a Pipe.
vas.
on canvas, \28, 140-141
"Christ Administering Grace to the
x 12.
charcoal, .36
62
Ballets Russes, Picasso's collabora-
teau on. 75; collaboration between
Catalonia. 12.61
Table,
T2K'
Horse.
;
costume for ballet dancer, inr/ieftace. //6-;;7 15;
15
/ /,
enus and i.upid.
i
152
Cubism: Analytical Cubism. 57. 61; apogee in Picasso's work. 80; Coc-
Catalan frescoes, 69
Life:
and Cubism, quoted. 61 sale of works of. in Kahnweiler's collection.
Ballet. Picasso's fascination with,
Bateau
for
The Portuguese. 62; on ApoUinaire
151
Ramon,
Cezanne. Paul,
109: for Eluard's
Musical Forms (with the words Fete
model theme. 151. 164
Pans
suicide and Pi-
;
Ceret. Spain. Picasso and
Vollard, 106
studio, )a!K,a B„
in Picasso's
illustrations: for Bufl'on's His-
loire \alurelle.
Grand
I 3
on canvas. 164-165
oil
tumes
on canvas.
oil
33"'ii.
self-portrait, .i/
of.
oung \n
Three-Corncred Hal. 80
Cranach. Lucas, 13. 15: in
sketches for, 15
tal Table, 97:
Picasso and Western art, 149; on
1
34tj X
Braque. Georges, 7; The Black Pedes-
Art criticism: Moscow's attack on
Artist
U.
Boy Leading a
Art: Art Nouveau, impact of, 30; Cub-
for
dancer. 76; for Parade. 77; sketch Pierrot and Harlequin. 115:
casso's Kvoeation, 33. U). 12
oil
on can-
Bosch, Hieronymus. Surrealists' ad-
Stalm and, 150-151
The (van Gogh), 26 x 39,
on canvas, 24
4%".
24'';. oil
book of verses, 108, 109; work
84
Aragon. Louis. 145. 149; Picasso's
Artist
onian Ironing, 15
//
26-27
Bonsons, Jaumet Andreu,
Picasso's drawings of. 74. 75: Picas-
x \t%. iron
84
Costumes designed by Picasso;
Picasso and Braque. 58. 61. 62. 63,
107
Guillaume, 36-37. 54.
146
19%
86, 92, 94; collage and papier colle,
Boisgeloup. Chateau of. 85. 104, 107
63. 75. 78; defense of Cub.sm. 61;
camps: Picasso's Char-
12.
1
ballet
na. :io
Casas.
Iniisc.
Cat Dei'ouring a Bird. 38" x 4'2%",
Bock.
and
on
8. 8-1. 1,52
with Picasso. 30. 31
of.
I
techniques used during. 64; Vollard
vas.
7,5
,\polIinaire.
oil
paintmgs
on white
Cassou, Jean, 148
Blue Room, The. 20 x
129, 147
oil
Casa Mila apartment house. Barcelo-
The Madman, 33: The Old
pencil
9'/4,
37: Selj-l'orlrait {I9()l), 2H, 29. 33;
on. 34-35;
of. 54,
70-71. 83-84, 119. 129, 133. 141
Antibes: iMglu Fisfiingat Antibes,
nel
(instruction.
wire.
39%,
25'/i x
Casagemas. Carles.
hmgal Re-
43: The
le,
I
Guitarist, 34. tl: sale of
Analytical Cubism, 57, 61
Apolltnatre. Guilluume. [)en
Im
past. 46:
on can-
18
on (,ucrmin.
hi: article
canvas, 9«-99
figure during, 44; flvtKation.
33. 12:
X
paper. 136
Canigou, Le (Cris),
Cannes,
in Picasso's art, 33-34,
Blue Room. 26-27: distortion of hu-
"Alleluia" series, b'A x 8%,
ink.
4'3'/«'
40; The Ahsituhe Drinker. 41: The
Sculptor $ Studio. 105
m
1937,
9.
107
in.
and sand on canvas, 97
oil
Ca Mihiers d'
May
Composition Study for Guernica,
107
pencil.
128-129: Picasso's poetry published
Gue'ridon Noir) (Braque), 29'/2" x
Allegory, 33; in fCvwation. 42: in
vas,
in,
109
to-
African art, 39; influence on Picasso,
I'icas
(!nn< enlrjIioM
show
Black Pedestal Table. The(Le
Aecordionisl, 4'
on canvas. 107
tion of Picasso's works, 153
ward. 57. 60
vas, 61,
oil
in
move
narks are hy
Bust of Sabarles (1938). ilr,x8'/i
104
Bibliotheque Nationale, Paris, exhibi-
:
Guernica, 126; Picasso's
of.
61, 92,
Us Demoiselles
93, 94; in
idpntilicd. all lisleil art
except where indicated: height precedes width.
\
pencil on gesso
on wood, 135
III
M:
in
Braque.
.56.
60;
Guernica. 126. 127. 137-i:i9: in
l.es I lemoiselksd' Avignon,
54, 55,
70-71 : in paintings reflecting vio-
Composition Study for Guernica.
Fiocalum
2, ;937.28*tx23-....
x 15.
gouache on gesso on wood, 136
penciland
May
lence of
World War
II,
132,/;/,
;
;_': 111
The Three Dancers, 119:
I
nllard
Sitiic.
in
105: Picasso's preoc-
187
Index (continued) cupation with- 84-«5.
1
12. I:^)-I2L
129
Frugal Repast. The. 18'ax 14"^
Tx
Double Usage, 15% x 18'^ x ceramic.
1
Fruit Disk, 29'/» x 24. oil
on canvas,
X
89
77
Doiv. The. 21'^ X 2T"1.. lithograph, ISO
Dream, The. 4*3'.r x 38!V.
o"il
on
fetish
from West Central
12^ x
The.
15^6, etching with aquatint. 125. 726
La Barre
metal.
Iron, Picasso's 7.
61
7. 16,
of Picasso and family by. 167. 168-
Man
work with. 81. 85
178-183
;r.5,
Durand-Ruel. Paul. Parisian er, Picasso's
I
oil
on card-
22
board,
Greco, inspiration to Picasso, 13-
reworking
14. 15. 44. 154: Picasso's
Picasso. 24:
of portrait by, 155
145; illustrations by Picasso for
book of verses by. 108: Picasso's friendship with and portraits of, 108109, 128. 149
Entrance of the BuUfighlers (Paseo),
Tk X
1%, aquatint. 179
1
4*1
1
Vie"
X
35V.
at Els
oil
on canvas, 33, 42
Quatre Cats.
first
14. 15; at
Salon d'Automne of 1944. 146; Spain
5'3V
x
4'3'/.".
on canvas. 104. 122. 123 uUh Bare Feel. 29'A x 19'-1. on canvas. 16-/7
85 Grand Vu (Braque).
in
in 1936. 109: retrospective ex-
hibitions in 1966 to celebrate 85th
birthday. 153; Vollartl's
first
show. 32
4'7'/."
x 39",
Gris. Juan:
oil
Felicien. criticism of Picasso's
work, 32
Family of Acrobats with Ape, The, 41 X 2914, gouache, aquarelle, pastel, India ink
still lifes
by. 97, 98-99;
Family of Saltimbanques,
7'6V.
oil
IV
6'1
x
on canvas. 36. 48-49
V
oil
Guernica.
1
First Steps.
4'3H" x 38^^".
oil
on
for.
of,
Form: Cezanne's concept
of.
in Analytical
57-58; and sculpture, 85: geometrical
forms
in early
Cubism. 57. 86.
on canvas.
oil
25 I IS: in
Family of
Mtisicians, 100-101: portrait of
son Paulo dressed
Period. 35-36.
48^9. 105
125. 126
fomie near Cannes. 152: acquisition of house at Vallauris. 148; Picasso's
in
Studio at Cannes, 162
u'Uh a Fan,
Lady
39 x 3 1 '2.
oil
on
a Mantilla,
I&/1 \
4'-^
x
2\
at.
23'/.
x
16'/i6
67
wood
151: villaatMoueins,8
engraving by Aubert after a drawing
on canvas. 152,
oU on canvas, 23, 152. 760;
Picas-
Duarf Dancer inspired by, 22,
23 Metamorphoses, 85, 730, 757, 757, 174-175. See Distortion of
form 134. 135-139
Minotauromachy,
19'/^
x 27!*. etching,
106, 134
Center. 50' high, steel. (intellectual
Mondrian.
Piet.
7.5.3
movement
12.14
60
Monlmartre. quarter of Paris: Le
Moulin de
L'Estaque. French fishing village, 56,
mark
la
Galette cafe a land-
of. 27; Picasso's life in. 30.
36,63
Light
:
in Impressionistic art, 29;
Dada movement
in.
Montrouge, Paris suburb, Picasso's
home
treatment of. bv Picasso, 152 Literature:
82;
in,
74-75. 78
Mother and
child theme, in Picasso's
work. 33. 157
Surrealism. 82-83
Mougins. Picasso's vacations 109.
visit to,
79-SO
Loyalists, in Spanish Civil ^S ar, Picas1 1
1,
125, 126
oil
at, 8.
128
Moulin de
casso, Lola
M
8*6'-^", oil
Modemismo
x 17!^
Michel. 128
so's support for.
Le Chef-
d'oeuvre Inconnu, 13 x 10.
X
160, 767
in Barcelona).
London, Picasso's
vacations at the. 84. 109. 148. 150,
46
Model of sculpture forChicago Civic
Lola, Picasso's sister. See Ruiz y Pi-
Iberian Sculpture. Osuna. Spain, de-
Circus, Picasso's inspira-
tion from, 35-36,
Menirms, Las, (August 17, 1957 ),
7.58,
Lithography. See Picasso-graphics
on Picasso. 38.
ce-
Minotaur theme, 105, 106. Ill, 126,
87
slone,
56-57
so's
.
Leiris.
14.57
tail,
81; remarks on Braque's work,
sale,
4'3V X 5'3%", oil on canvas, 152, 760 Meninas, Las (Velasquez), 10'5" x 9*,
30
teiih
nas. Las
130
Horta de Ebro, Picasso's vacations
Illustration for Balzac:
Joy of Life, 55: Picasso and. 7. 53. 54. 149; reaction to Kahnweiler
.Meninas. Las. (October 3, 1957),
Las Meninas (V elasquez) See Meni-
book by BuSbn.
Picasso's illustrations for, 109
Art. influence
use of, in Picasso's sculpture,
1 75;
Matisse. Henri: Fauvism and, 39:
6*4'-tr"
ration with. 109
ceramic, 777
67.68 CaJi-
near
Lacouriere. Roger. Picasso's collabo-
Large Bird.
73. 74: photograph of. 6!
French Riviera: acquisition of La
home
The Pigeons. 163;
Lapin Agile, Monlmartre cafe, 37
It
Hitler. Adolf. 128. 129.
1 berian
of Franco.
in
of Paris, 131
Franco. Francisco. Ill; Picasso's etchLie
i_ia Califomie. Picasso's
so's distortion in, 57; Picasso's views
\TV\b" diameter.
95:
ramic, 777
of Olga. 78, 774. 115
Cubist geometrical forms, 87; Picas-
9^ gouache. 67
23^ oil on canvas. 56. Sr Humbert. Marcelle (Eva). 61-62. 63.
form
traits
Landscape: Braque's work. 56; in
representation of. during Rose
Head. I2^4 x
79
Medley of Bulls. 18'V diameter,
Arts. Picasso's studies at, 13
Houses at L'Estaque (Braque). 28^4 x
Dream and
on La Garoupe beach. 81; por-
La Lonja, Barcelona's School of Fine
as. 82. slipcase:
wrought by Picasso's Les Demoi-
ings
12; letters to
graph of Picasso. Olga and friends
quez's Las Meninas, 152: revolution
tortion of
1
at,S7
Horta de San Juan. See Horta de Ebro
tTA vignoru 54. See also Dis-
encounter with Picasso and
ceramic, 177
Harlequin.
7
85.150
La Garoupe, Antibes beach, photo-
90; in Picasso's variations on Velas-
seiles
first
canvas,
32% x 24'^
Hisloire \aturelle.
29-30:
Cubism.
Demoiselles d' Avignon. 54
Lady
arlequin,
oman. 10'bx6^ gouache on panel. 67
of Paris. The (Daumier). lithograph. 19
emphasis on.
134
H
aquatint.
Picasso's creations from scrap ma-
Cannes. 152;
New York. 128
W
of, 60,
terials. 85. 730. 757, 757. 158, 174-
Medrano
135-136: tour of painting
through Europe and
new kinds
128: public auction of Cubi.st art
137-139. 141. 142: composition
sketches for. 1351.'i6: detail studies
1
Materials: Cubists" experiments with
Picasso's portrail of, 60. 63. 90, 97,
of.
canvas. 126-128. 129. 130. 132. 134.
Head of n
Follies
Paris art
separation, 85, 103, 106. 107: picture
r5'^" x 2,5'5V,
ceramic. 776
on
oil
can%as, 130, 756
Matador Thrown by the Bull iCogi-
Lahnweiler. Daniel-Henn,'. Ka
Picasso. 151; marital difficulties and
Guimard. Hector. 30
Head ofa BulL
on canvas. 121
Massine, Leonide, 76, 77, 80
33
marriage, 78-79. 84.
Saltimbanques. 48-49: in Three
Fauvism, 7, 39 Femme, 28 x 12% x 15V bronze. 85 Femande. See Olivier. Femande Figure. 9^ X 5*'i&. lithograph. 83 Figure in a Red Chair, 4*3 x 38 V.
so, 13, S4; Picasso's watercolor dedi-
82;
of Pablo Picasso. 72, 73: The Table. 95
Still Life:
Harlequins: draw ing in Pierrot and
on cardboard. 47
oil on canvas. 67 Masquerade— Qui with the Head ofa Man, 13% X 13% x 1 1, ceramic, 7 76
109
Khokhlova. Olga: birth of son Paul,
during Spanish Civil War, 127. 132.
fagus,
Mask. 6'^ X 5%.
sketches, 34: friendship with Picas-
collection of. 80-82; reaction to Les
63. 86: Canigou. Le. 97. 98-99;
Marie-
alter,
Therese
da). 7:8 X
adherence to Cubism, 60.
Guernica, town, Spain, bombing
Expressionism. Picasso and. 7
Marie-Therese. See \X
dealer: 56-57, 60; photograph of, 59;
on canvas. 56
24
Picasso's portrait of,
Youth ). 15
cated to,
oil
Gonzalez, Julio. Picasso's work with.
Portrail
The Burial ofCasagemas ),
Exhibitions of Picasso's work:
show
inspired by.
The, \6V*" high, bronze,
Junyer-Vidal. Sebastian: in Alleluia
Cubist
Eva. See Humbert, Marcelle (
oman
Graphics. See Picasso-graphics
on Art Nouveau, 30
49
Juan-les-Pins. Picasso's vacation in.
if
Dejeuner
art dealer:
friendship with Picasso, 30, 31, 33:
37
so's relationship with. 146-148. 150.
151: Pre^nanl
5'A.
7, 29, 1(M;
Manvac. Pere, Parisian
Jester,
Girl Before a Mirror.
Manet. Edouard,
surTHerbe.oS
casso's drawing of, 74; reaction to
(
8x
penciL 57
79; death. 131: photograph of. 32; Pi-
JoverUut
oil
activities.
28'4 bronze. 737, 150
Jarry, Alfred,
45% x
86^ x 3W* x
with a Sheep,
A7an icUh Arms Crossed,
photograph with Picasso. 147: Picas-
Girl
Communist
Max, 12^ x 10, lead pencil, 74 Max: and Picasso. 32. 36. 78;
loma. 150: birth of son Claude. 14«:
JO
14-15, 21; Picasso's poster for,
with Picasso, 128
Evocation
daughter Fa-
with a Guitar (Braque),
Jacob,
Les Demoiselles d" Avignon, 54
Gilot. Frangoise: birth of
109
12.31
J acob.
conversion to Catholicism. 73-74.
Germany: Spanish Civil War and. Ill.i26; World War II. 129-131.
Eluard. .\usch. 108: in photograph
Endell. August,
29; influence on
158
Els Quatre Cats, tavern in Barcelona,
Eluard. Paul:
7.
SelfPnnmU. 24
142
sketch of. 34
Dtvarf Dancer. 41 '^ x 24.
E
art deal-
Antoni. 12.30
raudi'.
Gauguin. Paul.
78; during
3\% oil on canvas, 61, 93 Man
Ga
at,
13-14,31; retrospec-
tive Picasso show,
visits to,
Duchamp:, Marcel, !Sude Descending a Staircase. 60 Duncan, David Douglas, photographs
in,
Malaga: Picasso's birthplace, 8;
111; Futurism in, 61
Italy,
Madrid: Ballets Russes
and training
Ingres, Jean A.D., 74
69
Futurism.
x 33+«, water-
33''2
The,
color on packing paper, 33
Civil ^X ar. 111: Picasso's sojourns
S\\ aquatint. 108
22-23,31.32.33
wood and
Africa, 22Vi6" high,
Dream and Lie of Fmnco.
8'*.
<r Appui, 12".^ X
impressionism, 29; Picasso and,
15
Funerary
canvas. 122
Max Jacob," 10^ pen and ink. 32
Illustration for Eluard's
Fujola y Valles. Picasso's sketch of.
Dove. See Pigeons
Madman,
by Picasso. 82 'illustrated letter to
4fy
etching,
la Galette. Le, 35V« x
45%,
on canvas. 27. 31 la C^alette. Le (Renoir),
Moulin de
30^1 X 45. oil
on canvas. 21
Mourlot. Femand, Picasso's collabaar, Dora,
and
126,728-129,147
Pi<
,709-110,
oration with. 146
Museed.\rt Modeme.
Paris.
148
1
Miisiml Form!,
(
mal name, 8; birth
mill ihr imrds h'ele
Mythological subjects. 105. 106, ill
i\ ational
77.
Communism,
on behalf
Exhibition of Fine Arts,
fighting scenes,
activities
149-151; Cubism
of. 145,
Cubism); Dada movement
Madrid, Picasso's honorable inen-
(.See
lion from, 13
and. 82; distortion in art of. 44. 55.
Nazism: Picasso's attitude toward, 130;
Charnd House expressing
horror of concentration camps, lt2. 146: Spanish Civil
World War
lll,;i'r;
129-131.
II.
112
with Dra/irn; -fl lv4" x
3W,
\uile
and gouache,
15, 32, 109, 1-16, 153: Fer-
Studio. 105-106; lotlardSuUe, 105.
nande
Olivier, relationship with,
106. endpapers;
an's Head.
17*. x
Sa'i
photograph
with, 78-79, 84,
of.
1
ainting: Picasso's remarks on, 142. 1.57.
at
160, 162, 164: trends in Paris
end of I9lh Century. 29
Pallares,
103, 106, 107,
8.5,
12; photographs
of, 6, 9. 81. 128.
.ipe, 47;
Papier co/fe; 63, 97
heritage in art of. 10-1
Parade, ballet (Cocteau), 76-78
69; stylistic influences on.
Paris;
Communist Peace Congress
held in. 149-1.50; as world art center.
29; during and after World
War
II.
22-23. 67.
1.
7, 15.
176: Double
and SpecHead
of a Bull. 1 76; l^dv with a Mantilla. 1 77; iMrge Bird. 1 77: Masquerade-
parnasse replaces Montmartre, 63;
Medley- of Bulls. 177; Ked-and-ll hue
Matisse and Picasso in artistic
Oul.
settlement 1.30-131;
in, 15, 16,
subway
sojourns ami
mm for Spanish Pavilion, in
II
Harlnimn. 4'3'A" x
Pel
i
Ptoma (Brush and Pen). Spanish
15 27v8, oil
1
76; Sealed
Fish. 1 76;
oman
II
on can-
24
Perspective: distortion in Picasso's
Boy on
15;
1
3/; The
a Horse.
.16;
57;Joiede
Hill,
Lady
Le Bock, 107; Le Moulin de elte,
theSeashore, 167;
The Old
May
1.
1937. 135. 136;
90; Portrait
1937. 135. 136; Composition
60, 97; Portrait of Fernande, 90: Portrait
Guernica,
May 9.
1937. 135.
/.:i6;
80; Dora Maar.
Man
1
portrait, 79.
10; ErikSatie. 79;
with a Sheep. 131; Fujola
portrait of, 74, 75;
Crossed, .57;
Museum, Barcelona, 153 Khokhlova, Olga
Picasso, Pablo; art, remarks on, 154, 157, 158, 160, 162, 16-4; ballet, in-
and work
for,
Soler.
7-7;
75-80; baptis-
Nusch Eluard,
108; Paul Eluard, 108; Paulo
donkey,^'; Pere Romeu Picasso
on a
portrait.
and the Human Comedy. and Harlequin. 115; pi-
151; PicrrnI
terest
M.
Man with Arms Max Jacob, 74; nude
torso study. 12;
7.7;
wife. .See
J.
Jaime Sabartes, 107; Leo Stein,
151
Picasso, Olga Khokhlova, Picasso's
77 7
va.s.
geons. 10; Portrait of Sabartes (1946), 107:
Ramon nol.
7.5;
Ramon
Pitxot,
Casas.
7 /;
Santiago Rusi-
self-portrait. 1901.. i/; self-
portrait at lime / /;
7.5;
Sludi lor
iifRlsQuatre Cats.
l.cs
llcnmiselles
Ramon, colored drawing, 7.5 Tk x 1 l^i.
aquatint,
7
79
Poetry: Dada
82; Picasso's poetry,
in,
107, 125; Surrealism in, 36-37, 82-83
of a Painter after El Greco. 40 X 32'/i, oil on wood, 7.55
Portrait
Girl. 4'3'/»" x
of a Young
on canvas. 96 Portrait nf a H oman (Henri Rousseau). 59 X 3m. oil on canvas, 5 .38'/8". oil
25'/:, oil
28%,
Ambroise
i
ollard. 36'a x
on canvas, 59, 90
ofD.-H. Kahnweiler. 39% x
oil
on canvas, 60, 91
of Fernande, 24
oil
x 16' 2,
of J. R. with Roses, 39% on canvas, 7.59
Portrait oil
of Olga in an .Armchair, on canvas, 7 7-7
of Pablo Picasso 72, 73
Portrait
(Gris),
727; .Self Portrait
(19271.
(
1901
28. 33.
).
39; Self Portrait (1906), 39, tail,
67;
.52.
de-
Life with Chair fin-
.S((//
Portrait of Sabartes (1946).
x
26
x 19v8, black
crayon, 707
Quatre Gats (The Four
F.ls
Cats), 8-. X
oman
II
4'3'/ii"
37
of Picasso (Dali). 13*. x 17%,
Portrait
Poster for
omtin (19201.80.
II
x
pencil drawing. 72-7. 125
Ro-v.-i. 7.59;
Charity. 13: Sealed Bather.
.Spn/«7
x 31y«.
of Maya wUh a Doll, 28*i 23%, oil on canvas, 7^7
and
7.3;
90
of Gertrude Stein. 39'/4 x 32, on canvas, 38-39, 66, 67
Portraiture, in Cubism, 9). 97
7
on can-
5'8'i;", oil
of Maya witha Doll. 141: of Olga in an Armchair, 114; TheRace, 1 16-117; Science
12.
x
on canvas, 79
Placing the Handerillas.
29'/.%
of Gertrude Stein, 38-39. 66;
Portrait ofJ.R. with
on
X 35", oil
ollard, 59,
ofD-H. Kahnweiler.
135, 7.36; Composition Study for
Picasso's daughter. 104. 106, 141.
Picasso
69:
Study for Guernica. .May 2. 1937.
portrait of, 39;
Maya {Maria Concepcion),
I
x
762
31'/8". oil
Portrait
Manyac. 24: The
of .Ambroise
Portrait
May 1,
4'3'/8""
1.19. 1.50.
Pipes of Pan, dZ'k" x
Portrait
(I),
Composition Study for Guernica.
lO'A x Th, pen-
75
7
The (Ruiz Blasco), 47'4-
Pigeon.'..
Portrait
Portrait
1
Picasso,
with
8.
canvas, 76.3
of a Painter after El Greco. 155; Portrait of a )oung Girl, 96;
Composiiion Study for
121; Sealed
Genoese painter, 9
Fishingat
K oman.
Pigeons, The,
Portrait
135-136: Guillaume ApoUinaire.
wife, 8, 151-152,153, 159. ITS
drawing,
Pigeons. 163: Pipes of Pan. 117:
y Valles portrait. 15: for Guernica.
Picasso, Matteo,
Nude
curtain for, 76; Paul in Harlequin.
for
Picasso. Jacqueline Roque, Picasso's
cil
82, slipcase; Pere
;
(nee Pi-
1 1
and Harlequin.
Pierrot
"Christ Administering Grace to the 1 1
Dona Maria
Picasso de Ruiz,
Portrait
Guitarist. 34, +7; Parade.
Demoiselles d\4vignon. 54, 55, 64-
at, 1.53
l\iglit
Drapery. 69; :\ude
65
/7o.;r/. 77;^
«0. 82. 106. slipcase
Portrait of
la Gal-
21, 31; Mother and Ch ild at
Portrait
1966 exhibition
-iugust
(
his Meni-
17. 1957). 152, 160, 767;
Portrait
1.50,
Picasso, Paul (Paulo), Picasso's son,
Portrait
The Madman.
.50;
nas (October 3. 1957). 152, 760;
Design for Sculpture. 85; Diaghilev
Picasso, Claude, Picasso's son, 148,
Oman's Head. 90
Pitxot.
1 7;
livre, 147-148:
33: Ma.ik, 67; Las Meninas
and Seligsberg double
Petit Palais, Picasso's retrospective
Chair.
of Flowers. 37;
with a Fan.
Meninas. 152, 760 /.c.s
Red
7.56; Fruit
Guernica. 126-128, 132, 134, 135-
landscapes, 57; in Velasquez" Ims
Picasso's defiance of rules of, in
It
Bust of Sabartes (1938), 107;
Guernica ,
Girl with a Basket
Antibes. 129, 147;
Devil,"
41% x
Two
76;
1
Ijong Gown, with Loose Hair,
Bathers.
38'/ii".
magazine, Picasso's sketches for,
vas,
76; Screech Qui.
ing. 32; "Alleluia" series,
61
Pere Manyar.
77:
Picasso's drawings: abstract ink draw-
126-128
Peinlres Cubistes. tes, linaire,
i.-iage. 1
177
on canvas, 82, sUpcase book by Apol-
oil
I
I
Head of a Man.
with the
onion. 1 77;
in u
21, 29, 31-.39.
Paris World's Fair, Picasso's Cuer-
Paul
Owl
entrance,,?*)
121; First Steps. 130,
Dish. 89: Girl with Bare Feel.
Head. 67; Head of U oman. 67: House in Garden. 57; Houses on a
tator.
of, 53; Picasso's early
36, 48-49; Figure in a
104,117.131,152,160 Picasso's ceramics; Bullfight
I.i8; project
II
5'8"/it", oil
136, 737-7.39. 142; Harlequin. 2.5:
1.30-131. 142. 145-146; during
life
22; Evocation. 33,
Family of Saltimhanques.
24, 31-32, 67, 69, 70, 74. 83-81. 88.
World War I. 73; exhibitions of Picasso's work in. 32. 109. 146. K53: importance of Cubism in, 60; Mont-
oman.
Pigeons (drawing). 70
146; Danc-
7-72,
69; Les Demoiselles d' Avignon.
42; The Family of Acrobats with
Span-
It
with a Sheep.
monument for ApoUinaire, 87; Oman with a Baby Carriage. 1.57;
Charnel House. 132, er.
Dwarf Dancer,
:
131 : Pregnant
Pigeons, 10, 11, 79.
125; portraits by Oris and Dali. 72.
in the,
Man
85:
Jester. 79,
7.5.3;
W;
head of Fernande Olivier, 85, The
Death's
7.30;
Fernme. 85: model
/ 7.3;
Chicago Civic Center.
Deiouringa Bird. 128, 110-141:
124: prestige and world fame. 53.
War, sympathies
gift to
9, 78, 107,
ISO-IXi: poetry written by. 107.
111,125. 126. 132. 134; Spanish
Young. 757; Bull's Head.
Head, 142.
casso Lopez), Picasso's mother,
53-55,64-6.5. 70-77; The Dream. 122;
ish Civil
Pi-
Baboon with
Boy Leading a Horse, 36, .57; Boy with a Pipe. 50: Bullfight, 23;
27;
III. 117. If>6.1t>8-I75. 178-179.
128, 148, 167; signature, 31
Manuel, friendship with
casso, 13, 14
Belt,
121
oupe. 168-169: The Blue Room, 26-
Bust of Sabartes (1904), 707; Cat
151: Olga Khokhlova, relationship
portrait of. 9(1
.?.').
1
Om-
influence on Picas-
so's paintings, 46;
Marie-Therese Wal-
relationship with, 103-1 10,
ter, If
oman with Head with
150,770-777.77.3
and His
Model. 7W-765; The Beach at Gar-
m
II
Picasso, Paloma, Picasso's daughter.
Drinker. 41; Accordionist.M. 92: The
Altar Boy, 18: The Artist
lithography,
1.58;
woman. 83
Picasso's paintings: The Absinthe
1.50.
Picasso, relationship witl
151-152, 153,
lerest in, 146;
oil
/ /
W:
Roque
line
Ou fid GuUaml. The. on wood, 34,
:
7.3.3;
Picasso's sculpture;
of
work,
8,
Olivier, Fernande: 35, 38; in
Communist
Quatre Gats, 20; The Sculptor's
criticism of, 127-128, 134; Jacque-
W
76; lithography,
poster, 149, 1.50; poster for Els
Fran^oise Cilol.
eeping. 129.
of
79;
1
Minotauromachy.
106, 134; of pigeon in
Eva. relationship with.
16. 19;
verse, 108;
61-62. 63, 73, 74; exhibitions of his
151; Guernica, explanation and
onmii. 4'2%" x 30"'8". pencil
II
The Frugal Hepast. interest in, 146;
relationship with, 146-147.
on canvas, 69
oil
book of
relationship with. 109-110. 128-
35, 38, 57, 59, 61
80. 10.S
^ude
Lie of Franco. 125-126; El Zurdo.
84-85. 112. 126. 127; Dora Maar.
1.3.
Neo-Classicism, in Picasso's work.
ami
The Dream
Entrance of the Bullfighlers.
II
Loaves. 38; H Oman's
Self Portrait, 102; The Yellnw
Ui; bull-
I
78-7 79;
7
10; for Cluard's
129: early training of. 9-10. 11-12.
War and.
omans Head. 129
80; H
Picasso's graphics: Bull.
92, 94; ceramics work, 148-149,
17 1-177;
:iludy for h's
71 1;
36: Three Ballerinas.
Sidlirnlianque.-i,
with, 56. 58-59. 61-62. 63, 79, 86,
95
pler colle,
d' A iignon. 53-54.
Braque.
of. 8;
collaboration and relationship
iind Jtmrn) (Braque), 36'/4 x 23'/2./)n-
6!/,,
20
Poster fi« Troupe de Mile. Eglantine)
(Toulouse-Lautrec), lithograph. 24'/.
X
31'/!,
Pottery.
.See
27
Ceramics
ing. 62-63, 94-95; Tavern Interior, 19;
Poussin, Nicolas. Triumph of Pan. 131
The Three Dancers, 83-84, 779; Three
Pregnant
Graces.
7
18; Three Musicians
Mu-seum of Modern
New
Art,
York), 80, lOO-lOl; Three cians (Philadelphia
80. 10(1;
and
Two
hi
lie. 13;
of Art). I
I
enus
7
choir. 85. 72*7;
69;
II
onmn
()
oimin
m
Ironing. 13:
II
)
so, 52. 67,
:!9;
influence on Picas-
69
Pulcinelln ballet (Stravinsky). Picasso cosl limes for.
7
75
ivc la
oman Dressing Her 77; H oman in an Arm-
France. 73; H Hair. 129.
omw/i, 41'/." high, bronze,
II
158 Primitive art,
Mu!.i-
Museum
Nudes. 39. 68:
Child. 152:
(The
clluu;
oman
K«rc. wood.
77»'12'.x 16*..goiiach,-oii 7
76-7
7
7
Ramie, (ieorgcs and Suzanne. Picasso's
work
in
ceramics with, 148-149
189
:
Index (continued) Head. Herbert, on Picasso's Gneniun.
Slalue uj Sliinilmf- \ude
etching.
127 Realism: Braque and. 60. 62-63; Cubism and. 95. late- 19t h
/
ramic,
1
(
as. 36.
stu-
de
magazine, reproduction of Picasso's
.5/;
Bov Bov
brought
10'^ X T%. front endpapers, rif^ht
(
on canvas, 80, 112, Seated
in Picasso's art, 35-36.
Oman.
II
1
x
6%
49;
huly
for.
mg,
56, 57; Portrait
World War Ruiz Blasco. ther, 8-9,
Shchukin,
during
129
II.
Soler,
Don Jose,
1 1 .
and,
64
in Guernica.
Minotaur
lai
Souchere. Dorde
19
Soulier. Pere. Parisian art dealer. 35.
la.
147
56
10,11.15
Civil
Union
U ar.
Ill; Picasso's portrait of
casso in
Art.s
d'Avignon. 54,55; technique
706; Picasso
Museum
ods,
in Barcelo-
na and. 153; Picasso's portraits Sagot, Clovis, 35, 37
youth
Salmon. .Andre. 39. 55.61
so show, 109; tribute to Picasso,
Salon d'Automne. Paris: of 1906. 39;
153
146; refusal to ings,
show Braque's
ings at the. 57.
Spanish heritage
in Picas-
Guernica. 126-128, 132,
Madrid. Picasso's studies
at.
Satie. Erik. 20''j x 19'i., lead pencil.
Satie, Erik, 75, 77,
1.30. /.57,
Tk i
8'/.
x
5'/,«,
Sculptor. \Uxiel
H ennng Mmli.
Picasso and.
The
text
Book thick
for
this
Trompe
of
in
Bodoni Bo
Roiloni (1740-1813). One of th from more evenly weighted old-style ch\ and thin parts, of letters. The Bodoni character
Giambatlista
I'oeil.
1
1
5.
Hallenbeck
(
I
ice President
Text photocomposed under the direction of A Ibert
oil
44% x 28V
oil
on
-7.5
11
eeping. 23'A x 19'., oil
icUh a
Baby
on
Carriage, 6'7:V*
17%", bronze, 757 16'/."
high, bronze,
typeface
in
India ink
and gouache, 729 ((
Oman's Head with Selffortrait. 29
X 24, oil
on canvas, 702. 103
Wooden mask from
East Central
of.
e//oi< Belt,
62
named for Us llalmn
motlern
typefaces.
Bodoni
the greater contrast
between
ertual with
a thin, straight
),
.Afri-
wood. 67
World War I. 63. 73-79 World War II. 128, 129-131, 142; Picasso's work during. 132. 7 70. 7J7
Room. 26-27
Braque's use
riie-Ht
\\'2.
,
and Director of Produriwn and Don Sheldon J. Dunn and Arthur J. Put
Robert E. For, Caroline Ferri
4'3**,
37S",
2 1 3 1 ; poster f la
PROnUCTlON STAFF FOR TIME INCORPORATED L-
Ironing.
Oman's Head, 18 x
176
differs
John
190
If
Tivo FLsh. \6h" diameter,
.'79
book was photocomposed
oman
Troupe de Mile. Eglantine). 21
of, 138; Picasso's portrait
38-39. 66
Stein. Leo: collector of Picasso's
designer,
Museum
Toulouse-Lautrec, Henri de: painting by. in Picasso's Blue
of.
oman
ca. 14" high.
work, 39: on Picasso. 108. 153; pho-
Stem. Leo. 9*. x 6^., gouache,
x
85.90
37-38, 53, 55; collector of Picasso's
tographs
IT4-1T.5
/76
and Picasso,
an Armchair, 6'4V x
H Oman's Head,
on
Tokias,Alice.58.8!
Stein, Gertrude, 58, 81:
79
78
Scrap materials, Picasso's creations
oil
vas, 80, 10(J
1.50-151
13
4'3'/."
canvas, lg9, 132, 1.33 li
Three Musicians (Philadelphia Museum of Art), 6'8" X 6'2'*. oil on can-
7J.5-7.-79
oman
canvas. I)
Modern Art. New York). 6"7" x Ty/x\ oil on canvas, 80, l()0-H)}
Stalin, Josef, Picasso's portrait of,
of.
x 4*8". oil
x 4"1 1",
Three Musicvans (The
10-11,22-23,67,69
of Guernica, 727. 132; Picasso's
60
San Fernando. Royal .Academy
from,
art,
in
in Yellow. 4'3'/." x
X 2.3%" X
6'6vfl"
Her Hair,
a Long Gown, with Loose
on canvas. 69
London
If
T%"
in
on canvas, 85, 120
K oman
Cubism and, 86 Three Graces,
oman
oil
Picasso's preoccupation with, 36;
7-15; retrospective Picas-
oman
Hair, \\%" high, 177 if
Three-dimensional forms,
Spanish Civil War, 110-111; bombing
Salon des Independants, Cubist paint-
Screech Owl.
in,
so's art,
paint-
56
It
canvas, 118
Spanish
of 1944 with Picasso's exhibit, 145-
7^9
by Diaghilev. 80
125, 126, 132; Picasso's
Marie-Therese: Picasso and.
oniiin lJres.ung
38'V,oiloncanvas, 129, 747
allauris Fair.
on canvas, 83-84, //9
HI,
in,
I
U
69
Three Dancers. The.
64
Iter.
103-110. 151: portraits of, 104. /(«
Three-Cornered Hat. staging in
re-
Spain: Picasso's support of Loyalists
of,
107. 129
W 117
in.
and charcoal, 77
garding, during Blue and Rose peri-
Picasso and, 8, 106-108; photograph of,
ollard Suite. 705-106. endpapers
(
9''2. oil c
i
for, 105-
sponsored by. 32
126-127, 137-139;
Inleno
work
show of Picasso's work
06. 109;
1
Three Ballerinas, 23'* x 17%, pencil
so's defiance of, in Les Demoiselles
Oabartes. Jaime: friendship between
on Picasso's Blue
59, 74, 9(h Picasso's
Thirteenth Century Catalan fresco,
Meninas, 152; Picas-
and
of,
friendship for Picasso. 31-32. 34.
for Surrealists, 106
23^1. X 15'^i., lithograph.
detail,
Space: Cubist technique used bv Pi-
on can-
oil
Period, 34-35; Picasso's portraits of.
Third Poster for the
Stahnand. 150-151
Russian ballet company. See Ballets
mc-
I
1%, engraving,
43
38. 53. 55. 107;
19
Spanish
so. 149; help to Loyalists in
1
VoUard. Ambroise: patronage
in,
word coined by
Theater, Picasso's interest
Soviet I nion: charges against Picas-
Vilato, Lola, Picasso's sister.
(
x
Vlaminck, Maurice de, 29, 39
Cubist paintings, 97;
in
9^it,
La. 6'4%'" x 4'2%",
vas.
63
Picasso, 9-15, 19. 62; The Higmns.
Ruiz Blasco, Salvador, Picasso's un-
Russia. Sfe Soviet
I ie.
125;
.Monster),
705
78
-Apollinaire.
M.. colored drawing, 14
J.
tion at.
,
12,31
7.J77
Symbolism:
Sorgues. Braqii*- and Picasso's vaca-
Picasso's fa-
3 1 63; influence on
ers
I
Synthetic Cubism, 60, 63
art collector,
26l'4, oil on wood, 152 Mai A A A 77/ ( Four Children
b6'2 X
pastel,
with a Sheep, 4'3" x 20",
7. 83. 107,
Cupid. 25^4 x 19%, ink and
and Cupid (Lucas Cranach),
enus
inga
Man
23; Picas-
Las Meninas. 152-
gouache, 132
37; Minotaur symbol, 106; Picasso
67
80
ing of. 79. at,
.52; detail,
Seligsberg. .Alfred F.. Picasso's draw-
ofalfoman.5 Rovan. Picasso's sojourn
India ink,
and
enus
I
oil I
Surrealism, 36, 82-83; Jarry's place
on canvas, 39. .5.5.
153. 76^^-767
on canvas, 28, 33, 39
.31
Self-PortraU (1906), 36'. x 28*., oil
109
Rousseau, Henri,
so's versions of
53-54, 70
1901), 7 x -H'i, pen and
Dwarf Dancer. 22,
casso's
94-95
Selffortrau (1901). 32 x 2373, oil
Rosenberg Gallery, show of Picasso's at.
Velasquez, Diego, 152. 760: and Pi-
oil
cloth on canvas with rope. 62-63,
Study of Torso after pla.ster cast. \<th x 12^^, crayon and charcoal, 72
Rosenberg, Paul, 79
paintings
{
29; The Arlesi-
Vauxcelles. Louis. 39. 86
Study for a
India ink and colored crayon.
7,
on Picasso, 24
\ ases, ceramics. 7 76-7 77
with Chair (.aning. lOis x
\&h X 24%, charcoal and draw-
;.;
Setfl'ortratl
39;
made during, 85
sculpture works
on wood. 2;
oil
Self-Portrail (c. 19(K)), colored
76-7 "7; Pi-
150
enne. 24; influence
Study for Les Demoiselles d'Avignon,
Self-l'orirait ((jauguin), 31'/4 x 20'/4,
with a Fan, 5();
Leo Stein's enthusiasm
so's sojourn at,
Van Gogh. Vincent,
9.5
and pasted
/
casso's poster for fair of, 749; Picas-
on canvas, 762
40; experiments
in the,
of Picas-
Miguel 14-15
Vallauris, 148, 150, 151,
Studio at Cannes. The. 44v8" x 4'9'^",
x 5"*, ce-
37
of, 59: reaction to l^s Demoiselles
Lltrillo,
Stravinsky, Igor, 76, 115
1%
U ilhelm: acquisition
charcoal, and gouache on canvas,
13^. oval. oil. paper
x 16':, oil
11.3
on wood, 121
oil
Roi, plav bv Jarrv.
colored papers, printed matter,
2.
Still Life
with n Pipe. 50; changes
of A crobals with Ape, 46, 47; Family of Saltimbanques, 48: The
cle, 9,
(Gris). 23',^ x
(1927), 4'3'*" x 38' V.
oman
II
Seated
h'tuiinfia Horse, 36, 50,
ily
Ruizde
on canvas. 88
The Table
1933). etching,
H oman (1920), 36'4
.Rented
with etching during, 105; The Fam-
Jester,
Head
Sculptured
Roque Picasso 64;
din). 16 Still Life:
17'
112. 117
7.5
c
d'Aii'ynon.S4
X 12'«. oil
Seated Model and Sculptor Studying
na, colored drawing. 14.
Rose Period
142; technique
II,
Barcelo-
Roque, Jacqueline. See Jacqueline
oil
so's painting. 37; Picasso's j>ortrail
Jug of Milk and hruit (Cezanne), 29't. X 38'., oil on canvas, 88 Still Life: The KUchen Table (Char-
121
vas,
works by. 83
Rome. Picasso's sojourn in. Romeu. Pere. cafe owner in
1%" x 36^",
L'hde.
88-89. 97
of using varied materials, 150 Seated Bather. 5'4'«" x 4'3", oil on can-
21
la Galelte.
Rei'olunon Sunmliste. hi, French
1
)bu u.
evolution of Cubism and,
Still life,
World War
ing
Ik-
l^es
54
Steinien, Theophile Alexandre. 15
Still Life:
85; rendering of Marie-Ther-
field of,
39; reaction to
moisetles d' Avignon.
ese. 10-1-105; revived interest dur-
Renoir. Pierre-Auguste. 26; /^ Moulin
trait of,
Wn x 7%, back end-
1933). etching.
Sculpture, Picasso's explorations in
61
4'
m
vas, 39,
graph, 38; Picasso's gouache por-
Sculptor's Studio, etchings, 105-106
Rendez-vous des Poetes, Picasso's
known
Picasso, 37-38; in family photo-
papers, ri^ht
high, ce-
76
Two \udes.
work. 39: early relationship with
1933),
Seated before a Sculptured Head.
Redon,Odilon,83 dio
(
back endpapers,
Sculptor with Fishbotvl ami -\uile
iS; in art trends of
Century. 29: Picasso and,
13V
x 7%.
left
10.62-63.78. 112
Red-and'U htleOuL
I0'*>
serif.
The.
iSW x 38'«
iiiA,AA- <Nj\-s^^^YJ •Aj'\K~,