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
... the beautiful one. Isn't she just like an Attic marble?” Picasso shrugged. “You talk like an actor,” he said. “How would you characterize the intelligent one?” That evening I was wearing a green turban that covered 14 LIFE WITH PICASSO.
... the beautiful one. Isn't she just like an Attic marble?” Picasso shrugged. “You talk like an actor,” he said. “How would you characterize the intelligent one?” That evening I was wearing a green turban that covered 14 LIFE WITH PICASSO.
Page 31
... talk of anything. It seemed miraculous. Seeing him after an absence of four or five months and across the filter of my summer's experiences, I had the impression I was rejoining a friend whose nature was not very far from my own. Often ...
... talk of anything. It seemed miraculous. Seeing him after an absence of four or five months and across the filter of my summer's experiences, I had the impression I was rejoining a friend whose nature was not very far from my own. Often ...
Page 34
... talk to Malraux,” he said. “After all, no one should have seen him here. It's too dangerous. He just slipped in from the maquis.” I told him I didn't know whether I was grateful for it or not. Until then I had been happy with the ...
... talk to Malraux,” he said. “After all, no one should have seen him here. It's too dangerous. He just slipped in from the maquis.” I told him I didn't know whether I was grateful for it or not. Until then I had been happy with the ...
Page 54
... talk with a Communist Party figure who was at the same time sufficiently intelligent and open-minded to be acceptable to someone whom the Party dogmatists would not have impressed. As a result of 54 LIFE WITH PICASSO.
... talk with a Communist Party figure who was at the same time sufficiently intelligent and open-minded to be acceptable to someone whom the Party dogmatists would not have impressed. As a result of 54 LIFE WITH PICASSO.
Page 59
... talk to each other: they couldn't sit there and say nothing. Then, after a long wait, Pablo would let one of them come into the Holy of Holies. As a rule, since he liked Kahnweiler better, he would let Louis Carré come in first. Carré ...
... talk to each other: they couldn't sit there and say nothing. Then, after a long wait, Pablo would let one of them come into the Holy of Holies. As a rule, since he liked Kahnweiler better, he would let Louis Carré come in first. Carré ...
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