Life with PicassoNew York Review of Books, 11 juin 2019 - 384 pages Françoise Gilot’s candid memoir remains “one of the most illuminating [books] we’ve had on the mind and spirit of Picasso”—and gives fascinating insight into the intense and creative life shared by two modern artists (Los Angeles Times). Françoise Gilot was in her early twenties when she met the sixty-one-year-old Pablo Picasso in 1943. Brought up in a well-to-do upper-middle-class family, who had sent her to Cambridge and the Sorbonne and hoped that she would go into law, the young woman defied their wishes and set her sights on being an artist. Her introduction to Picasso led to a friendship, a love affair, and a relationship of ten years, during which Gilot gave birth to Picasso’s two children, Paloma and Claude. Gilot was one of Picasso’s muses; she was also very much her own woman, determined to make herself into the remarkable painter she did indeed become. Life with Picasso is about Picasso the artist and Picasso the man. We hear him talking about painting and sculpture, his life, his career, as well as other artists, both contemporaries and old masters. We glimpse Picasso in his many and volatile moods, dismissing his work, exultant over his work, entertaining his various superstitions, being an anxious father. But Life with Picasso is not only a portrait of a great artist at the height of his fame; it is also a picture of a talented young woman of exacting intelligence at the outset of her own notable career. |
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Page 16
... Cubist period. He later told me that he had bought them after he painted the pictures, not before, and kept them there now as a remembrance of his Cubist days. The room had noble proportions but everything was at sixes and sevens. The ...
... Cubist period. He later told me that he had bought them after he painted the pictures, not before, and kept them there now as a remembrance of his Cubist days. The room had noble proportions but everything was at sixes and sevens. The ...
Page 20
... Cubist period. There were also scenes of the Vert Galant, that little tip of the Ile de la Cité near the Pont-Neuf, with trees on which each branch was made out of separate spots of paint, much in the manner of van Gogh. There were ...
... Cubist period. There were also scenes of the Vert Galant, that little tip of the Ile de la Cité near the Pont-Neuf, with trees on which each branch was made out of separate spots of paint, much in the manner of van Gogh. There were ...
Page 23
... Cubist manner. I asked him when he had done that. “Oh, two or three years ago,” he said. “These, too.” He pointed to a group of cigarette boxes on which he had painted women seated in armchairs. Three of them, I noticed, were dated 1940 ...
... Cubist manner. I asked him when he had done that. “Oh, two or three years ago,” he said. “These, too.” He pointed to a group of cigarette boxes on which he had painted women seated in armchairs. Three of them, I noticed, were dated 1940 ...
Page 25
... Cubist pattern formed by the roofs and chimney pots of the Left Bank. Picasso came up behind me and put his arms around me. “I'd better hold on to you,” he said. “I wouldn't like to have you fall out and give the house a bad name.” It ...
... Cubist pattern formed by the roofs and chimney pots of the Left Bank. Picasso came up behind me and put his arms around me. “I'd better hold on to you,” he said. “I wouldn't like to have you fall out and give the house a bad name.” It ...
Page 32
... Cubist movement. Apollinaire had been dead for twenty-five years but the “Baron” was still a more or less permanent fixture in Picasso's studio. Another man who came a great deal at that time was André Dubois, who later on became ...
... Cubist movement. Apollinaire had been dead for twenty-five years but the “Baron” was still a more or less permanent fixture in Picasso's studio. Another man who came a great deal at that time was André Dubois, who later on became ...
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