By John Richardson
From 1950 to 1962, John Richardson lived close to Picasso in France and used to be a pal of the artist. as a way to writing a biography, the acclaimed artwork historian stored a diary in their conferences. After Picasso’s demise, his widow Jacqueline collaborated within the instruction of this paintings, giving Richardson entry to Picasso’s studio and papers. quantity one in all this amazing biography establishes the complexity of Picasso’s Spanish roots; his aversion to his local Malaga and his ardour for Barcelona and Catalan "modernisme". Richardson introduces new fabric at the artist’s early education in spiritual artwork; re-examines outdated legends to supply clean insights into the creative disasters of Picasso’s father as an impetus to his sons’s triumphs; and contains photos of Apollinaire, Max Jacob and Gertrude Stein, who made up "The Picasso Gang" in Paris through the "Blue" and "Rose" classes.
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Additional info for A Life of Picasso Volume I: 1881-1906
Nothing,” Picasso claimed to have replied. “In order to assist him, the teacher asked a few questions. . When the boy failed to answer he decided that perhaps he had gone over his head. It did not occur to him to ask him to read; he supposed . . that of course he knew how to do that, like eveiybody else. To write . . why ask that? 26 The examiner did indeed ask Pablo to take dictation, which he did quite passably. As for his account of the arithmetical test, this is all the more revealing for diverging from the truth.
He had heard of a position at Corunna: he would be a professor of drawing. But he was turned down for this job, and was turned down again in 1887, when he made a second request. To make matters worse, his position as museum curator was jeopardized by municipal cutbacks. Sure enough, the following year (1888), after a review of the city’s finances, don José’s salary was stopped. In exchange for the use of a studio, he continued to do light curatorial chores as well as some restoration (many of the paintings damaged in the 1884 earthquake still required patching up).
Interior of the Perez Costales House. Corunna, 1895. 5cm. Museu Picasso, Barcelona. Above: Picasso. Modesto Castillo as a Moor. Corunna, 1895. Oil on canvas, 43x25 cm. Private collection. Left: Picasso. Portrait of Ramon Perez Costales. Corunna, 1895. Oil on canvas, 52x37 cm. Heirs of the artist. A LIFE OF PICASSO Picasso. Don José with his Brushes and Palette. Corunna, 1894-95. 5cm. Museu Picasso, Barcelona. 40 Picasso remembered his father’s life in Corunna as a disaster from the start. “My father never left the house,” he told Sabartès, “except to go [and teach at] the Escuela.