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 14
... hair, bright flashing eyes, very squarely built, rugged—a handsome animal. Now, his graying hair and absent look—either distracted or bored—gave him a withdrawn, Oriental appearance that reminded me of the statue of the Egyptian scribe ...
... hair, bright flashing eyes, very squarely built, rugged—a handsome animal. Now, his graying hair and absent look—either distracted or bored—gave him a withdrawn, Oriental appearance that reminded me of the statue of the Egyptian scribe ...
Page 22
... hair was soaking wet. “Just look at the poor girl,” Picasso said to Sabartés. “We can't leave her in that state.” He took me by the arm. “You come with me into the bathroom and let me dry your hair,” he said. “Look, Pablo,” Sabartés ...
... hair was soaking wet. “Just look at the poor girl,” Picasso said to Sabartés. “We can't leave her in that state.” He took me by the arm. “You come with me into the bathroom and let me dry your hair,” he said. “Look, Pablo,” Sabartés ...
Page 23
... hair. It's pretty close to being hair—it's string. These things are midway between sculpture and painting, I suppose.” I noticed, too, that the frame of the chair occupied by the woman with the sewn-on torso was formed in part by a ...
... hair. It's pretty close to being hair—it's string. These things are midway between sculpture and painting, I suppose.” I noticed, too, that the frame of the chair occupied by the woman with the sewn-on torso was formed in part by a ...
Page 40
... hair done up in a coiffure I had taken from a painting of the Infanta by Welázquez. Picasso let me in. His mouth dropped open. “Is that the kind of costume you put on to learn engraving?” he finally asked. Certainly not, I told him. But ...
... hair done up in a coiffure I had taken from a painting of the Infanta by Welázquez. Picasso let me in. His mouth dropped open. “Is that the kind of costume you put on to learn engraving?” he finally asked. Certainly not, I told him. But ...
Page 41
... hair and eyes, partly draped. He pointed to the one who was standing. “There you are. That's you. You see it, don't you? You know, I've always been haunted by a certain few faces and yours is one of them.” He turned to another print ...
... hair and eyes, partly draped. He pointed to the one who was standing. “There you are. That's you. You see it, don't you? You know, I've always been haunted by a certain few faces and yours is one of them.” He turned to another print ...
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