Picasso, Page 3

  During this period, 1901 to 1904, he painted the blue pictures, the hardness and the reality which are not the reality seen, which is Spanish, made him paint these pictures which are the basis of all that he did afterwards.

  In 1904 he came back to France, he forgot all the Spanish sadness and Spanish reality, he let himself go, living in the gaiety of things seen, the gaiety of French sentimentality. He lived in the poetry of his friends, Apollinaire, Max Jacob and Salmon, as Juan Gris always used to say, France seduces me and she still seduces me, I think this is so, France for Spaniards is rather a seduction than an influence.

  So the harlequin or rose period was a period of enormous production, the gaiety of France induced an unheard of fecondity. It is extraordinary the number and size of the canvases he painted during this short period, 1904–1906.

  Later one day when Picasso and I were discussing the dates of his pictures and I was saying to him that all that could not have been painted during one year Picasso answered, you forget we were young and we did a great deal in a year.

  22 PORTRAIT OF MISS GERTRUDE STEIN (1906)

  Really it is difficult to believe that the harlequin period only lasted from 1904 to 1906, but it is true, there is no denying it, his production upon his first definite contact with France was enormous. This was the rose period.

  The rose period ended with my portrait, the quality of drawing had changed and his pictures had already commenced to be less light, less joyous. After all Spain is Spain and it is not France and the twentieth century in France needed a Spaniard to express its life and Picasso was destined for this. Really and truly.

  When I say that the rose period is light and happy everything is relative, the subjects which were happy ones were a little sad, the families of the harlequins were wretched families but from Picasso’s point of view it was a light happy joyous period and a period when he contented himself with seeing things as anybody did. And then in 1906 this period was over.

  In 1906 Picasso worked on my portrait during the whole winter, he commenced to paint figures in colors that were almost monotone, still a little rose but mostly an earth color, the lines of the bodies harder, with a great deal of force there was the beginning of his own vision. It was like the blue period but much more felt and less colored and less sentimental. His art commenced to be much purer.

  So he renewed his vision which was of things seen as he saw them.

  One must never forget that the reality of the twentieth century is not the reality of the nineteenth century, not at all and Picasso was the only one in painting who felt it, the only one. More and more the struggle to express it intensified. Matisse and all the others saw the twentieth century with their eyes but they saw the reality of the nineteenth century, Picasso was the only one in painting who saw the twentieth century with his eyes and saw its reality and consequently his struggle was terrifying, terrifying for himself and for the others, because he had nothing to help him, the past did not help him, nor the present, he had to do it all alone and, as in spite of much strength he is often very weak, he consoled himself and allowed himself to be almost seduced by other things which led him more or less astray.

  Upon his return from a short trip to Spain, he had spent the summer at Gosol, he returned and became acquainted with Matisse through whom he came to know African sculpture. After all one must never forget that African sculpture is not naive, not at all, it is an art that is very very conventional, based upon tradition and its tradition is a tradition derived from Arab culture. The Arabs created both civilisation and culture for the negroes and therefore African art which was naive and exotic for Matisse was for Picasso, a Spaniard, a thing that was natural, direct and civilised.

  So then it was natural that this reinforced his vision and helped him to realise it and the result was the studies which brought him to create the picture of Les Desmoiselles d’Avignon.

  Again and again he did not recommence but he continued after an interruption. This is his life.

  It was about this period that his contact with Derain and Braque commenced and little by little pure cubism came to exist.

  23 VILLAGE IN TARRAGONA (1909)

  24 WOOD ENGRAVING (1905)

  25 WOOD ENGRAVING (1905)

  26 THE VIOLIN : Charcoal Drawinh (1912)

  27 STILL-WITH GLASS (Spring, 1912)

  28 PORTRAIT OF HENRY KAHNWEILER (Autumn, 1910)

  First there was the effort, still more difficult than with still lifes and landscapes, to create human beings in cubes, exhausted, Picasso emptied himself during 1907 and calmed himself by doing sculpture. Sculpture always has the bother that one can go all around it and the material of which it is made gives an impression of form before the sculptor has worked on it.

  I myself prefer painting.

  Picasso having made a prodigious effort to create painting by his understanding of African sculpture was seduced a short time after 1908 by his interest in the sculptural form rather than by the vision in African sculpture but even so in the end it was an intermediate step toward cubism.

  Cubism is a part of the daily life in Spain, it is in Spanish architecture. The architecture of other countries always follows the line of the landscape, it is true of Italian architecture and of French architecture, but Spanish architecture always cuts the lines of the landscape and it is that that is the basis of cubism, the work of man is not in harmony with the landscape, it opposes it and it is just that that is the basis of cubism and that is what Spanish cubism is. And that was the reason for putting real objects in the pictures, the real newspaper, the real pipe. Little by little, after these cubist painters had used real objects, they wanted to see if by the force of the intensity with which they painted some of these objects, a pipe, a newspaper, in a picture, they could not replace the real by the painted objects which would by their realism require the rest of the picture to oppose itself to them.

  Nature and man are opposed in Spain, they agree in France and this is the difference between French cubism and Spanish cubism and it is a fundamental difference.

  So then Spanish cubism is a necessity, of course it is.

  So now it is 1908 and once more Picasso is in Spain and he returned with the landscapes of 1909 which were the beginning of classic and classified cubism.

  These three landscapes express exactly what I wish to make clear, that is to say the opposition between nature and man in Spain. The round is opposed to the cube, a small number of houses gives the impression of a great quantity of houses in order to dominate the landscape, the landscape and the houses do not agree, the round is opposed to the cube, the movement of the earth is against the movement of the houses, in fact the houses have no movement because the earth has its movement, of course the houses should have none.

  I have here before me a picture of a young French painter, he too with few houses creates his village, but here the houses move with the landscape, with the river, here they all agree together, it is not at all Spanish.

  Spaniards know that there is no agreement, neither the landscape with the houses, neither the round with the cube, neither the great number with the small number, it was natural that a Spaniard should express this in the painting of the twentieth century, the century where nothing is in agreement, neither the round with the cube, neither the landscape with the houses, neither the large quantity with the small quantity. America and Spain have this thing in common, that is why Spain discovered America and America Spain, in fact it is for this reason that both of them have found their moment in the twentieth century.

  29 HEAD OF A WOMAN (1913)

  So Picasso returned from Spain after a summer spent in Barcelona and in Orta de Ebro and he was once again in the rue Ravignan, but it was the beginning of the end of the rue Ravignan, actually he did not leave the rue Ravignan until 1910, but the return in 1909 was really the end of the rue Ravignan which had given him all that it would give him, that was over and now began the happy era of cubism. There was still a great deal of effort, th
e continual effort of Picasso to express the human form, that is to say the face, the head, the human body in the composition which he had then reached, the features seen separately existed separately and at the same time it all was a picture, the struggle to express that at this time was happy rather than sad. The cubists found a picture dealer, the young Kahnweiler, coming from London, full of enthusiasm, wishing to realise his dream of becoming a picture dealer, and hesitating a little here and there and definitely becoming interested in Picasso. In 1907 and in 1908, in 1909 and in 1910, he made contracts with the cubists, one after the other, French and Spanish and he devoted himself to their interests. The life of the cubists became very gay, the gaiety of France once again seduced Picasso, every one was gay, there were more and more cubists, the joke was to speak of some one as the youngest of the cubists, cubism was sufficiently accepted now that one could speak of the youngest of the cubists, after all he did exist and every one was gay. Picasso worked enormously as he always worked, but every one was gay.

  This gaiety lasted until he left Montmartre in 1912. After that not one of them was ever so gay again. Their gaiety then was a real gaiety.

  He left the rue Ravignan, 1911, to move to the boulevard de Clichy and he left the boulevard de Clichy and Montmartre to settle in Montparnasse in 1912. Life between 1910 and 1912 was very gay, it was the period of the Ma Jolie picture, it was the period of all those still lifes, the tables with their grey color, with their infinite variety of greys, they amused themselves in all sorts of ways, they still collected African sculpture but its influence was not any longer very marked, they collected musical instruments, objects, pipes, tables with fringes, glasses, nails, and at this time Picasso commenced to amuse himself with making pictures out of zinc, tin, pasted paper. He did not do any sculpture, but he made pictures with all these things. There is only one left of those made of paper and that he gave me one day and I had it framed inside a box. He liked paper, in fact everything at this time pleased him and everything was going on very livelily and with an enormous gaiety.

  Everything continued but there were interruptions, Picasso left Montmartre in 1912 and gaiety was over everything continued, everything always continues but Picasso was never again so gay, the gay moment of cubism was over.

  He left Montmartre for Montparnasse, first the boulevard Raspail, then the rue Schoelcher and finally Montrouge.

  During all this time he did not return to Spain but during the summer he was at Ceret or at Sorgues, the beginning of life in Montparnasse was less gay, he worked enormously as he always does. It was at the rue Schoelcher that he commenced to paint with Ripolin paints, he commenced to use a kind of wall paper as a background and a small picture painted in the middle, he commenced to use pasted paper more and more in painting his pictures. Later he used to say quite often, paper lasts quite as well as paint and after all if it all ages together, why not, and he said further, after all, later, no one will see the picture, they will see the legend of the picture, the legend that the picture has created, then it makes no difference if the picture lasts or does not last. Later they will restore it, a picture lives by its legend, not by anything else. He was indifferent as to what might happen to his pictures even though what might happen to them affected him profoundly, well that is the way one is, why not, one is like that.

  30 “AU BON MARCHÉ” : Oils and Cut Paper (Spring, 1913)

  31 L’HOMME AU LIVRE : Composition in Cut Paper (1913)

  32 NATURE MORTE AUX LETTRES RUSSES (1914)

  33 “PARADE” : Picasso and his Assistants preparing the Scenery (1917)

  Very much later when he had had a great deal of success he said one day, you know, your family, everybody, if you are a genius and unsuccessful, everybody treats you as if you were a genius, but when you come to be successful, when you commence to earn money, when you are really successful, then your family and everybody no longer treats you like a genius, they treat you like a man who has become successful.

  So success had begun, not a great success, but enough success.

  At this time, he was still at the rue Schoelcher, and Picasso for the first time used the Russian alphabet in his pictures. It is to be found in a few of the pictures of this period, of course this was long before his contact with the Russian ballet. So life went on. His pictures became more and more brilliant in color, more and more carefully worked and perfected and then there was war, it was 1914.

  At this period his pictures were very brilliant in color, he painted musical instruments and musical signs, but the cubic forms were continually being replaced by surfaces and lines, the lines were more important than anything else, they lived by and in themselves. He painted his pictures not by means of his objects but by the lines, at this time this tendency became more and more pronounced.

  Then there was the war and all his friends left to go to the war.

  Picasso was still at the rue Schoelcher, Braque and Derain were mobilised and at the front but Apollinaire had not yet gone, he was not French so he was not called but shortly after he did volunteer. Everybody had gone. Picasso was alone. Apollinaire’s leaving perhaps affected him the most, Apollinaire who wrote him all his feelings in learning to become a warrior, that was then 1914 and now it was all war.

  Later he moved from the rue Schoelcher to Montrouge and it was during this moving that the objects made of paper and zinc and tin were lost and broken. Later at Montrouge he was robbed, the burglars took his linen. It made me think of the days when all of them were unknown and when Picasso said that it would be marvellous if a real thief came and stole his pictures or his drawings. Friends, to be sure, took some of them, stole them if you like from time to time, pilfered if you like, but a real professional burglar, a burglar by profession, when Picasso was not completely unknown, came and preferred to taken the linen.

  So little by little time passed. Picasso commenced to know Erik Satie and Jean Cocteau and the result was Parade, that was the end of this period, the period of real cubism.

  34 LA BOUTEILLE DE MARASQUIN (1914)

  Jean Cocteau left for Rome with Picasso, 1917, to prepare Parade. It was the first time that I saw Cocteau, they came together to say good-bye, Picasso was very gay, not so gay as in the days of the great cubist gaiety but gay enough, he and Cocteau were gay, Picasso was pleased to be leaving, he had never seen Italy. He never had enjoyed travelling, he always went where others already were, Picasso never had the pleasure of initiative. As he used to say of himself he has a weak character and he allowed others to make decisions, that is the way it is, it was enough that he should do his work, decisions are never important, why make them.

  So cubism was to be put on the stage. That was really the beginning of the general recognition of Picasso’s work, when a work is put on the stage of course every one has to look at it and in a sense if it is put on the stage every one is forced to look and since they are forced to look at it, of course, they must accept it, there is nothing else to do. In the spring of 1917 Picasso was in Italy with Diaghelew and with Cocteau and he made the stage settings and the costumes for Parade which is completely cubist. It had a great success, it was produced and accepted, of course, from the moment it was put on the stage, of course, it was accepted.

  So the great war continued but it was nearing its end, and the war of cubism, it too was commencing to end, no war is ever ended, of course not, it only has the appearance of stopping. So Picasso’s struggle continued but for the moment it appeared to have been won by himself for himself and by him for the world.

  It is an extraordinary thing but it is true, wars are only a means of publicising the things already accomplished, a change, a complete change, has come about, people no longer think as they were thinking but no one knows it, no one recognises it, no one really knows it except the creators. The others are too busy with the business of life, they cannot feel what has happened, but the creator, the real creator, does nothing, he is not concerned with the activity of existing, and as he is not active, th
at is to say as he is not concerned with the activity of existence he is sensitive enough to understand how people are thinking, he is not interested in knowing how they were thinking, his sensitive feeling is concerned in understanding how people live as they are living. The spirit of everybody is changed, of a whole people is changed, but mostly nobody knows it and a war forces them to recognise it because during a war the appearance of everything changes very much quicker, but really the entire change has been accomplished and the war is only something which forces everybody to recognise it. The French revolution was over when war forced everybody to recognise it, the American revolution was accomplished before the war, the war is only a publicity agent which makes every one know what has happened, yes, it is that.

  So then the public recognises a creator who has seen the change which has been accomplished before a war and which has been expressed by the war, and by the war the world is forced to recognise the entire change in everything, they are forced to look at the creator who, before any one, knew it and expressed it. A creator is not in advance of his generation but he is the first of his contemporaries to be conscious of what is happening to his generation.

  A creator who creates, who is not an academician, who is not some one who studies in a school where the rules are already known, and of course being known they no longer exist, a creator then who creates is necessarily of his generation. His generation lives in its contemporary way but they only live in it. In art, in literature, in the theatre, in short in everything that does not contribute to their immediate comfort they live in the preceding generation. It is very simple, to-day in the streets of Paris, horses, even tramcars can no longer exist but horses and tramcars are only suppressed only when they cause too many complications, they are suppressed but sixty years too late. Lord Grey said when the war broke out that the generals thought of a war of the nineteenth century even when the instruments of war were of the twentieth century and only when the war was at its heighth did the generals understand that it was a war of the twentieth century and not a war of the nineteenth century. That is what the academic spirit is, it is not contemporary, of course not, and so it can not be creative because the only thing that is creative in a creator is the contemporary thing. Of course.