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 13
... felt already that painting was my whole life. At that time I had as house-guest an old school friend named Geneviève, who had come up from her home near Montpellier, in the south of France, to spend a month with me. With her and the ...
... felt already that painting was my whole life. At that time I had as house-guest an old school friend named Geneviève, who had come up from her home near Montpellier, in the south of France, to spend a month with me. With her and the ...
Page 14
... felt he had already painted in his work of the Ingresque or Roman period. She often accentuated that Grecian quality, as she did that evening, by wearing a flowing, pleated dress. “Well, Cuny,” Picasso said. “Are you going to introduce ...
... felt he had already painted in his work of the Ingresque or Roman period. She often accentuated that Grecian quality, as she did that evening, by wearing a flowing, pleated dress. “Well, Cuny,” Picasso said. “Are you going to introduce ...
Page 19
... felt. “He just wanted to see what we had inside—if anything.” “Oh, you're so cynical,” she said. “He seemed to me very kind, open-minded, and simple.” I told her I thought he perhaps wanted to appear simple but I had looked into those ...
... felt. “He just wanted to see what we had inside—if anything.” “Oh, you're so cynical,” she said. “He seemed to me very kind, open-minded, and simple.” I told her I thought he perhaps wanted to appear simple but I had looked into those ...
Page 21
... felt it was a little early to show Picasso any new work even though he had been more than cordial in his invitation to come see him as often as I wanted to. I must admit I wondered more than once whether, if he had met me alone, he ...
... felt it was a little early to show Picasso any new work even though he had been more than cordial in his invitation to come see him as often as I wanted to. I must admit I wondered more than once whether, if he had met me alone, he ...
Page 24
... felt very much at ease with him and I saw no reason for setting up in advance any limits to our relationship. Again he said, “That's disgust. ing. How do you expect me to seduce anyone under conditions like that? If you're not going to ...
... felt very much at ease with him and I saw no reason for setting up in advance any limits to our relationship. Again he said, “That's disgust. ing. How do you expect me to seduce anyone under conditions like that? If you're not going to ...
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