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 i
... leaving Picasso in 1953, Gilot rekindled a friendship with the surrealist painter Luc Simon. They were married in 1955 and their daughter, Aurélia, was born the following year, though the couple would separate in 1961. Gilot began ...
... leaving Picasso in 1953, Gilot rekindled a friendship with the surrealist painter Luc Simon. They were married in 1955 and their daughter, Aurélia, was born the following year, though the couple would separate in 1961. Gilot began ...
Page x
... leave him. The others remained obsessed by him and continued to revolve around him even after he had moved on to other women. Two had breakdowns, and two more committed suicide after his death. But Gilot was also his only companion who ...
... leave him. The others remained obsessed by him and continued to revolve around him even after he had moved on to other women. Two had breakdowns, and two more committed suicide after his death. But Gilot was also his only companion who ...
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... leave without seeing any paintings and never get back there again when finally he took us out into the large studio and began to show us some. I remember one was a cock, very colorful and powerful in its features, crowing lustily. Then ...
... leave without seeing any paintings and never get back there again when finally he took us out into the large studio and began to show us some. I remember one was a cock, very colorful and powerful in its features, crowing lustily. Then ...
Page 22
... 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 said, “perhaps I should get Inès to do it. She'll do it better.” “You leave Inês where she ...
... 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 said, “perhaps I should get Inès to do it. She'll do it better.” “You leave Inês where she ...
Page 23
... leaves, twigs—and covered with sand. Each one was about ten by twelve inches. I asked him what they were. He shrugged. “Just what they look like,” he said. “I had a spell of doing things like that about ten years ago, on the surface or ...
... leaves, twigs—and covered with sand. Each one was about ten by twelve inches. I asked him what they were. He shrugged. “Just what they look like,” he said. “I had a spell of doing things like that about ten years ago, on the surface or ...
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