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
... period is marked by a bold use of color and movement. In addition to painting, Gilot has written several books, including Interface: The Painter and the Mask (1975), the biography Matisse and Picasso: A Friendship in Art (1990), and ...
... period is marked by a bold use of color and movement. In addition to painting, Gilot has written several books, including Interface: The Painter and the Mask (1975), the biography Matisse and Picasso: A Friendship in Art (1990), and ...
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... period, and many other pertinent documents—three large boxes of them—which, because they happened to be in the attic, miraculously escaped the fate of the other personal effects stored in her house in the PART I I MET PABLo Picasso in ...
... period, and many other pertinent documents—three large boxes of them—which, because they happened to be in the attic, miraculously escaped the fate of the other personal effects stored in her house in the PART I I MET PABLo Picasso in ...
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... 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 me to your friends?” Cuny introduced us and then said, “Françoise ...
... 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 me to your friends?” Cuny introduced us and then said, “Françoise ...
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... 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 long ...
... 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 long ...
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... period but very severe, all in black and white. About one o'clock the group around us broke up and everyone started to leave. The thing that struck me as most curious that first day was the fact that the studio seemed the temple of a ...
... period but very severe, all in black and white. About one o'clock the group around us broke up and everyone started to leave. The thing that struck me as most curious that first day was the fact that the studio seemed the temple of a ...
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