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In The Cubist Rebel, 1907–1916, the second volume of his

Life of Picasso, John Richardson reveals the young Picasso

in the Baudelairean role of “the painter of modern life”—a role

that stipulated the brothel as the noblest subject for a modern

artist. Hence his great breakthrough painting, Les Demoiselles

d’Avignon, with which this book opens. As well as portraying

Picasso as a revolutionary, Richardson ***yzes the more

compassionate side of his genius. The misogynist of posthumous

legend turns out to have been surprisingly vulnerable—more often

sinned against than sinning. Heartbroken at the death of his

mistress Eva, Picasso tried desperately to find a wife. Richardson

recounts the untold story of how his two great loves of 1915–17

successively turned him down. These disappointments, as well as his

horror at the outbreak of World War I and the wounds it inflicted

on his closest friends, Braque and Apollinaire, shadowed his

painting and drove him off to work for the Ballets Russes in Rome

and Naples—back to the ancient world.

In this volume we see the artist’s life and work during the crucial

decade of 1907–17, a period during which Picasso and Ge***es Braque

devised what has come to be known as cubism and in doing so

engendered modernism. Thanks to the author’s friendship with

Picasso and some of the women in his life, as well as Braque and

their dealer, D. H. Kahnweiler, and other associates, he has had

access to untapped sources and unpublished material. In The

Cubist Rebel, Richardson also introduces us to key figures in

Picasso’s life who have been totally overlooked by previous

biographers. Among these are the artist’s Chilean patron,

collector, and mother figure, Eugenia Errázuriz, as well as two

fiancées: the loveable Geneviève Laporte and the promiscuous

bi***ual painter Irène Lagut.

By harnessing biography to art history, he has managed to crack the

code of cubism more successfully than any of his predecessors. And

by bringing fresh light to bear on the artist’s private life, he

has succeeded in coming up with a new view of this paradoxical man

and of his paradoxical work. Never before have Picasso’s

revolutionary vision, technical versatility, prodigious

achievements, and, not least, his sardonic humor been ***yzed with

such clarity.

Introduction: La Bande  Picasso

Le Peintre de la vie moderne"

Raymonde

Czanne and Picasso

Rendez-vous des peintres

Three Women

La Rue-des-Bois

The Coming of Cubism

The Second Visit to Horta

Farewell to Bohemia

Cadaqus 1910

Cubist Commissi*** and Portraits

Summer at Cret 1911

L'Affaire des Statuettes

The Other Cubists: Jackdaws in Peacocks' Feathers

Ma Jolie 1911-12

S***ues 1912

Life in Montparnasse

Cret and Barcelona 1913

Woman in an Armchair

Collectors, Dealers and the German Connection

Avignon 1914

Outbreak of War

Wartime Paris

Picasso and Cocteau

Irene Lagut

Picasso's Chef d'oeuvre inconnu

Parade

Short Titles and Notes

Index

John Richardson is the author of a memoir, The Sorcerer’s

Apprentice; an essay collection, Sacred M***ters, Sacred

Masters; and books on Manet and Braque. He has written for

The New York Review of Books, The New Yorker, and Vanity

Fair. He was instrumental in setting up Christie’s in the

United States. In 1993 he was made a Corresponding Fellow of the

British Academy. In 1995–96 he served as the Slade Professor of

Fine Art at Oxford University. He divides his time between

Connecticut and New York City.

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Chapter 1: Rome and the Ballets Russes (1917)

Picasso's visit to Rome in February 1917 had

originally been conceived as a wedding trip, but at the last moment

his on-again off-again mistress, Irène Lagut, who had promised to

marry him, changed her mind, as her predecessor, Gaby Lespinasse,

had done the year before. Instead of Irène, Jean Cocteau

accompanied him. In a vain attempt to set himself at the head of

the avant-garde, this ambitious young poet had inveigled Picasso

into collaborating with him on

Parade:

a gimmicky,

quasi-modernist ballet about the efforts of a couple of shills to

lure the public into their vaudeville theater by tantalizing them

with samples of their acts. Cocteau had desperately wanted

Diaghilev to stage this ballet in Paris. The meddlesome Polish

hostess Misia Sert had tried to scupper the project. However,

Picasso's Chilean protector and patron, Eugenia Errázuriz, had

persuaded Diaghilev to agree, provided Picasso did the décor, Erik

Satie the score, and Léonide Massine the choreography. Sets,

costumes, and rehearsals were to be done in Rome, where Diaghilev

had his wartime headquarters. Picasso's cubist followers were

horrified that their avant-garde hero should desert them for

anything as frivolous and modish as the Ballets Russes, but he

ignored their complaints. After two and a half years of war, with

its appalling death toll, its hardships and shortages, and above

all the absence of his closest friends

—

particularly Braque

and Apollinaire at the front

—

Picasso was elated at the

prospect of leaving the ***rdments and blackouts behind to spend

a couple of months in the relative peace of Rome, which he had

always wanted to visit. Besides working on Parade, he was

determined to get married.

Picasso and Cocteau arrived in Rome on February 19, 1917, a day

later than they had intended. Cocteau, who had f***otten to get a

visa from the Italian embassy, had lied when telling him that no

reservati*** were available. Diaghilev had booked them into the

Grand Hotel de Russie on the corner of the Via del Babuino and the

Piazza del Popolo. So that Picasso could work in peace on the

costumes and sets for

Parade

, he had also arranged for him

to have one of the coveted Patrizi studios, tucked away in a

sprawling, unkempt garden off the Via Margutta. Although most of

the artists are now gone, the Patrizi studios are still as idyllic

as they were in 1917.

"I cannot f***et Picasso's studio in Rome," Cocteau late***rote. "A

small chest contained the maquette for

Parade

, with its

houses, trees and shack. It was there that Picasso did his designs

for the Chinese Conjurer, the Managers, the American Girl, the

Horse, which Anna de Noailles would compare to a laughing tree, and

the Acrobats in blue tights, which would remind Marcel Proust of

The

Dioscuri

."[1] From his window Picasso had a magnificent

view of the sixteenth-century Villa Medici, seat of the French

Academy, towering above the studio garden. As he well knew, the

Academy had associati*** with some of his favorite artists.

Velázquez had painted the garden; Ingres had spent four years there

as a fellow at the outset of his career and, later, six years as

director; Corot had also worked there and caught the golden light

of Rome and the

campagna

, as no other painter had

done.

"Rome seems made by [Corot]," Cocteau reported to his mother.

"Picasso talks of nothing else but this master, who touches us much

more than Italians hell bent on the grandiose!"[2] That Picasso

infinitely preferred the informality of Corot's radiant views to

the pomp and ceremony and baroque theatricality of so much Roman

painting is confirmed by his sun-filled pointillistic watercolors

of the Villa Medici's ochre fa?ade—as original as anything he did

in Rome.[3]

Diaghilev insisted that Picasso and Cocteau share his passion for

the city. Sightseeing was compulsory that very first evening. Since

there was no blackout as there was in Paris, they were able to see

the Colosseum all lit up—"that enormous reservoir of the

centuries," Cocteau said, "which one would like to see come alive,

crowded with people and wild beasts and peanut vendors."[4] The

following morning, Diaghilev picked them up in his car for another

grand tour. In the evening he took them to the circus. "Sad but

beautiful arena," Cocteau wrote his mother. "Misia Sert (or rather

her double) performed on the tight rope. Diaghilev slept until

woken with a start by an elephant putting its feet on his

knees."[5]

When he arrived in Rome, Picasso was still suffering from

chagrin d'amour

. Eager to find a replacement for Irène

Lagut, he had promptly fallen in love with one of Diaghilev's

Russian dancers, the twenty-five-year-old Olga Khokhlova. Although

he courted her assiduously and did a drawing of her, which he

signed with his name in Cyrillic, Olga proved adamantly chaste.

Chastity was a challenge that Picasso had seldom had to face. Both

Diaghilev and Bakst warned him that a respectable Russian woman

would not sacrifice her ***ity unless assured of marriage.

"Une russe on l'épouse,"

Diaghilev said. Olga personified

this view. She was indeed respectable: the daughter of Stepan

Vasilievich Khokhlov, who was not a general, as she claimed, but a

colonel in the Corps of Engineers in charge of the railway

system.[6] Olga had three brothers and a younger sister. They lived

in St. Petersburg in a state-owned apartment on the Moika C***.

Around 1910, the colonel had been sent to the Kars region to

oversee railroad c***truction, and the family had followed him

there. Olga stayed behind. Egged on by a school friend's sister,

Mathilda Konetskaya, who had joined the Diaghilev ballet after

graduating from the Imperial Ballet School, she decided to become a

dancer.

Olga had c***iderable talent. Despite starting late and studying

briefly at a St. Petersburg ballet school,[7] she managed to get

auditioned by Diaghilev. The Ballets Russes was having difficulty

prying dancers loose from the state-run theaters and was desperate

for recruits. A committee c***isting of Nijinsky and the greatest

of classical ballet masters, Enrico Cecchetti, as well as

Diaghilev—a trio described by another dancer as more terrifying

than any first- night audience—put Olga through her paces and

accepted her. Intelligence and diligence compensated for lack of

experience. Nijinsky was sufficiently impressed to pick her out of

the corps de ballet.

Léonide Massine, who had taken Nijinsky's place in Diaghilev's

company as well as in his heart, had chosen Olga to play the role

of Dorotea in

Les Femmes de bonne humeur

, an adaptation of a

comedy by the eighteenth-century playwright Goldoni, with sets by

Léon Bakst and a heavily arranged score after Scarlatti. It was at

a rehearsal for this ballet, which would have its premiere in Rome

the following month, that Picasso spotted Olga and immediately set

about courting her. To familiarize himself with the techniques of

theatrical décor as well as watch his new love at work, he helped

Carlo Socrate (the scene painte***ho would work on

Parade

)

execute Bakst's scenery. So that he could join Olga backstage,

Picasso even helped the stagehands at the ballet's premiere.[8]

Eighteen months later he would marry her.

Compared to her predecessors—Bohemian models Picasso had lived with

in Montmartre or Montparnasse—Olga was very much a lady, not,

however, the noblewoman biographers have assumed her to be.[9] She

came from much the same professional class as Picasso's family. Don

José, Picasso's father, may have been a very unsuccessful painter,

but his brothers included a diplomat, a revered prelate, and a

successful doctor, who had married the daughter of a Malague?o

marquis. One of Picasso's mother's first cousins was a general—more

celebrated than Olga's parent, also the real thing. Indeed, it may

have been Olga's lack of blue blood that made her so anxious to

become a grande dame and bring up her son like a little prince.

Arthur Rubinstein, the pianist, who had met Olga in 1916 when the

ballet visited San Sebastián, remembered her as "a stupid Russian

who liked to brag about her father, who she pretended was a colonel

in the Tsar's own regiment. The other dancers assured me that he

was only a sergeant."[10] This was an exaggeration, but Olga's

pretensi*** were resented by other members of the company.

Ten years younger than Picasso, Olga had fine regular features,

dark reddish hair, green eyes, a small, lithe, dancer's body, and a

look of wistful, Slavic melancholy that accorded with the

romanticism of classic Russian ballet. Formal p***ographs reveal

Olga to have been a beauty—usually an unsmiling one—although in

early snaps***s of he***ith Picasso and Cocteau in Rome, she is

actually grinning. Later, she plays up to him, dances for him,

takes on different personalities, which might explain the widely

varying reacti*** to her. The celebrated ballerina Alexandra

Danilova declared that Olga "was

nothing

—nice but nothing.

We couldn't discove***hat Picasso saw in her."[11] A Soviet ballet

historian, the late Genya Smakov, found references to her in an

unpublished memoir by someone working for Diaghilev, where she is

said to have been "neurotic."[12] On the other hand, Lydia

Lopokova—the most intelligent of Diaghilev's ballerinas—was Olga's

best friend in the company.

Picasso fell for Olga's vulnerability. He sensed the victim within.

She would have appealed to his possessiveness and protectiveness

especially when the Russian Revolution cut her off from her family.

Her vulnerability would likewise have appealed to Picasso's

sadistic side. (The women in his life were expected to read the

Marquis de Sade.) In the past year rejection by the two women he

had hoped to marry had left him exceedingly vulnerable. Pica...

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书籍介绍

In The Cubist Rebel, 1907–1916, the second volume of his Life of Picasso, John Richardson reveals the young Picasso in the Baudelairean role of “the painter of modern life”—a role that stipulated the brothel as the noblest subject for a modern artist. Hence his great breakthrough painting, Les Demoiselles d’Avignon, with which this book opens. As well as portraying Picasso as a revolutionary, Richardson ***yzes the more compassionate side of his genius. The misogynist of posthumous legend turns out to have been surprisingly vulnerable—more often sinned against than sinning. Heartbroken at the death of his mistress Eva, Picasso tried desperately to find a wife. Richardson recounts the untold story of how his two great loves of 1915–17 successively turned him down. These disappointments, as well as his horror at the outbreak of World War I and the wounds it inflicted on his closest friends, Braque and Apollinaire, shadowed his painting and drove him off to work for the Ballets Russes in Rome and Naples—back to the ancient world.

In this volume we see the artist’s life and work during the crucial decade of 1907–17, a period during which Picasso and Ge***es Braque devised what has come to be known as cubism and in doing so engendered modernism. Thanks to the author’s friendship with Picasso and some of the women in his life, as well as Braque and their dealer, D. H. Kahnweiler, and other associates, he has had access to untapped sources and unpublished material. In The Cubist Rebel, Richardson also introduces us to key figures in Picasso’s life who have been totally overlooked by previous biographers. Among these are the artist’s Chilean patron, collector, and mother figure, Eugenia Errázuriz, as well as two fiancées: the loveable Geneviève Laporte and the promiscuous bi***ual painter Irène Lagut.

By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing fresh light to bear on the artist’s private life, he has succeeded in coming up with a new view of this paradoxical man and of his paradoxical work. Never before have Picasso’s revolutionary vision, technical versatility, prodigious achievements, and, not least, his sardonic humor been ***yzed with such clarity.