A LIFE OF PICASSO VOLUME II: 1907-1917 by John Richardson

By John Richardson

John Richardson attracts at the similar mixture of vigorous writing, serious astuteness, exhaustive examine, and private adventure which made a bestseller out of the 1st quantity and vividly recreates the artist’s lifestyles and paintings through the the most important decade of 1907-17 - a interval in which Pablo Picasso and Georges Braque invented Cubism and to that quantity engendered modernism. Richardson has had detailed entry to untapped resources and unpublished fabric. through harnessing biography to artwork historical past, he has controlled to crack the code of cubism extra effectively than any of his predecessors. And via bringing a clean mild to endure at the artist’s usually too sensationalised inner most lifestyles, he has succeeded in arising with a unconditionally new view of this paradoxical guy of his paradoxical paintings. by no means ahead of has Picasso’s prodigious strategy, his incisive imaginative and prescient and never least his sardonic humour been analysed with such readability.

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The prospect of such a mésalliance infuriated his father, but the highly principled son stood his ground and, after living with Lucie for two years, married her in 1904. In her sedate, supportive way, she proved a model wife and on that score a favorite butt of Picasso’s jokes. A year later, Julius Kahnweiler packed his son off to London to w7ork for his rich uncle. Sir Siegmund was one of those Edwardian tycoons whose lavish hospitality—dinners of ortolans, baby lambs’ tongues and foie gras en croûte, followed by cigars and stockmarket tips—prompted Edward VII to reward his hosts with knighthoods and invitations to shoot at Sandringham.

On April 9, Fernande and Picasso had visited a Montmartre orphanage (rue Caulaincourt). ” They picked out a girl, called Raymonde, who was probably about thirteen. Apollinaire says she was nine,1 but she looks much older in Picasso’s drawings. Salmon describes her as an ado­ lescent and in his fictionalized account as being thirteen. "2 The daughter of a French whore working in a Tunisian brothel, she had been rescued by a Dutch journalist named Cohen and his wife. Apollinaire accuses the Cohens of being motivated by self-interest rather than compassion: they had forced the child to learn the violin with a view to entertaining them in their old age.

The astute dealer Paul Guillaume was largely to blame for making tribal art le dernier cri. Prices had soared. And so when asked by Florent Fels in 1920 to contribute ten or fifteen lines on the subject to a magazine questionnaire, Picasso had snapped, “Art nègre? ” (“African art? ”)62 Three years later, Picasso clarified his attitude: “The fact is,” he told Fels, “[art nègre] has become too familiar to me; the African sculptures scattered all over my house are more like witnesses than exemplars.

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