By John Richardson
John Richardson attracts at the similar mixture of energetic writing, severe astuteness, exhaustive learn, and private event which made a bestseller out of the 1st quantity and vividly recreates the artist’s lifestyles and paintings through the the most important decade of 1907-17 - a interval in which Pablo Picasso and Georges Braque invented Cubism and to that volume engendered modernism. Richardson has had certain entry to untapped assets and unpublished fabric. through harnessing biography to paintings heritage, he has controlled to crack the code of cubism extra effectively than any of his predecessors. And by means of bringing a clean mild to endure at the artist’s usually too sensationalised inner most lifestyles, he has succeeded in arising with a unconditionally new view of this paradoxical guy of his paradoxical paintings. by no means earlier than has Picasso’s prodigious process, his incisive imaginative and prescient and never least his sardonic humour been analysed with such readability.
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Additional info for A LIFE OF PICASSO VOLUME II: 1907-1917
This and the study below are pages from Stein’s sketchbook. Picasso was pleasantly childlike at times. I had some pictures relined, and [he] decided that he would have one of his pictures too treated like a classic, though in reverse order—he would have the canvas lined first and paint on it afterwards. 60 Picasso would never have lined a canvas for the “childlike” pleasure of doing things “in reverse order”: he would have had a sound practi cal reason for doing so. The obvious explanation is that he needed to strengthen the support.
63 Fang mask ( Gabon). Painted wood, ht: 42 cm (in Vlaminck’s and, later, Derain’s collection). Musée National d’Art Moderne, Centre Georges Pompidou, Paris. Easter card from Picasso to Leo Stein, April 27, 1907. Beinecke Rare Book and Manuscript Library, Yale University. 26 We also have to make allowances for Picasso’s innate caginess— caginess that became increasingly pronounced after he took on the tor tuously secretive Sabartès as his secretary in 1935. He manifested an obsessive need to cacher son jeu—conceal his game—and he allowed Sabartès to create myths about himself, myths which he would eventually come to believe.
Graphite pencil on paper, 22 x 17cm. Picasso Heirs. Picasso. Wonmil Examining Her Foot, summer, 1907. Oil on wood, 18x15cm. Musée Picasso. Picasso. Erika with Her Puppies, spring, 1907. 2 cm. Musée Picasso. 31 A LIFE OF PICASSO I haven’t yet seen Raymonde, but I intend to go next month. She has been placed in an orphanage run by sisters nearby on rue Caulaincourt and I can go and visit her the first Sunday of every month. ” She was not going to divulge discreditable details with inquisitive friends looking over her shoulder any more than she would divulge them to readers of her memoirs.