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 29
... tell him I had decided to be a painter and in order to give myself over completely to that, I would need to stop my other studies. Knowing how strong-willed he was, I realized that announcement would probably lead to a break between us ...
... tell him I had decided to be a painter and in order to give myself over completely to that, I would need to stop my other studies. Knowing how strong-willed he was, I realized that announcement would probably lead to a break between us ...
Page 34
... tell Picasso that Marais had the role of Pyrrhus in a production of Racine's Andromaque. “Our little Jeannot is going to have a huge success,” Cocteau assured us. Jeannot had even designed the settings and costumes, and Cocteau ...
... tell Picasso that Marais had the role of Pyrrhus in a production of Racine's Andromaque. “Our little Jeannot is going to have a huge success,” Cocteau assured us. Jeannot had even designed the settings and costumes, and Cocteau ...
Page 43
... tell from the cap he flourished at least three thousand years before Rembrandt came along. Everybody has the same delusions.” In the next plate a nude model was bending over a reclining sculptor. The weight and curve of her body were ...
... tell from the cap he flourished at least three thousand years before Rembrandt came along. Everybody has the same delusions.” In the next plate a nude model was bending over a reclining sculptor. The weight and curve of her body were ...
Page 46
... tell me so.” When I left there that day, I knew that whatever came to pass— however wonderful or painful, or both mixed together—it would be tremendously important. For six months we had been walking all around each other in an ironic ...
... tell me so.” When I left there that day, I knew that whatever came to pass— however wonderful or painful, or both mixed together—it would be tremendously important. For six months we had been walking all around each other in an ironic ...
Page 63
... tell a painter what is good in a painting of his and in that way I encourage him to keep on searching in the direction of his own special gift. As a result, what is bad disappears because he forgets it. I don't know if my critical ...
... tell a painter what is good in a painting of his and in that way I encourage him to keep on searching in the direction of his own special gift. As a result, what is bad disappears because he forgets it. I don't know if my critical ...
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