Picasso, Page 4

  35 STILL-LIFE WITH VIOLIN (1920)

  36 TWO NUDES WITH DRAPERY (1920)

  As I was saying, in the daily living it is another thing. A friend built a modern house and he suggested that Picasso too should have one built. But, said Picasso, of course not, I want an old house. Imagine, he said, if Michael Angelo would have been pleased if some one had given him a fine piece of Renaissance furniture, not at all. He would have been pleased if he had been given a beautiful Greek intaglio, of course.

  So that is the way it is, a creator is so completely contemporary that he has the appearance of being ahead of his generation and to calm himself in his daily living he wishes to live with the things in the daily life of the past, he does not wish to live as contemporary as the contemporaries who do not poignantly feel being contemporary. This sounds complicated but it is very simple.

  So when the contemporaries were forced by the war to recognise cubism, cubism as it had been created by Picasso who saw a reality that was not the vision of the nineteenth century, which was not a thing seen but felt, which was a thing that was not based upon nature but opposed to nature like the houses in Spain are opposed to the landscape, like the round is opposed to cubes. Every one was forced by the war which made them understand that things had changed to other things and that they had not stayed the same things, they were forced then to accept Picasso. Picasso returned from Italy and freed by Parade, which he had just created, he became a realistic painter, he even made many portraits from models, portraits which were purely realistic. It is evident that really nothing changes but at the same time everything changes and Italy and Parade and the termination of the war gave to Picasso in a kind of a way another harlequin period, a realistic period, not sad, less young, if you like, but a period of calm, he was satisfied to see things as everybody saw them, not completely as everybody does but completely enough. Period of 1917 to 1920.

  Picasso was always possessed by the necessity of emptying himself, of emptying himself completely, of always emptying himself, he is so full of it that all his existence is the repetition of a complete emptying, he must empty himself, he can never empty himself of being Spanish, but he can empty himself of what he has created. So every one says that he changes but really it is not that, he empties himself and the moment he has completed emptying himself he must recommence emptying himself, he fills himself up again so quickly.

  Twice in his life he almost emptied himself of being Spanish, the first time during his first real contact with Paris when there came the harlequin or rose period, 1904— 1906, the second time was his contact with the theatre, that was the realistic period which lasted from 1918 to 1921. During this period he painted some very beautiful portraits, some paintings and some drawings of harlequins and many other pictures. This adult rose period lasted almost three years.

  But of course the rose period could not persist in him. He emptied himself of the rose period and inevitably it changed to something else, this time it changed to the period of large women and later to one of classic subjects, women with draperies, perhaps this was the commencement of the end of this adult rose period.

  There certainly have been two rose periods in the life of Picasso. During the second rose period there was almost no real cubism but there was painting which was writing which had to do with the Spanish character, that is to say the Saracen character and this commenced to develop very much.

  I will explain.

  In the Orient calligraphy and the art of painting and sculpture have always been very nearly related, they resemble each other, they help each other, they complete each other. Saracen architecture was decorated with letters, with words in Sanskrit letters, in China the letters were something in themselves. But in Europe the art of calligraphy was always a minor art, decorated by painting, decorated by lines, but the art of writing and the decoration by writing and the decoration around writing are always a minor art. But for Picasso, a Spaniard, the art of writing, that is to say calligraphy, is an art. After all the Spaniards and the Russians are the only Europeans who are really a little Oriental and this shows in the art of Picasso, not as anything exotic but as something quite profound. It is completely assimilated, of course he is a Spaniard, and a Spaniard can assimilate the Orient without imitating it, he can know Arab things without being seduced, he can repeat African things without being deceived.

  The only things that really seduce the Spaniards are Latin things, French things, Italian things, for them the Latin is exotic and seductive, it is the things the Latins make which for the Spaniards are charming. As Juan Gris always said, the school of Fontainebleau was completely a seduction, it was of course completely Latin, Italy in France.

  So then the Italian seduction resulted for Picasso after his first visit to Rome in his second rose period which commenced in 1918 with the portrait of his wife and lasted until the portrait of his son in harlequin costume in 1927, and all this began with portraits, then the large women, to end with classic subjects. It was once more Latin seduction this time by means of Italy. But above all it was always and always Spain and it was Spain which impelled him even during this naturalistic period to express himself by calligraphy in his pictures.

  37 THE BATHERS (1921)

  38 LA SOURCE (1921)

  The first thing I saw that showed this calligraphic quality in Picasso were several wood-cuts which he had made during the harlequin period, that first rose period of 1904. There were two birds made in a single stroke and colored with only one color. Beside these two small things I do not remember any other things of his which were really calligraphic until his last period of pure cubism, that is to say from 1912 to 1917.

  During this period the cubes were no longer important, the cubes were lost. After all one must know more than one sees and one does not see a cube in its entirety. In 1914 there were less cubes in cubism, each time that Picasso commenced again he recommenced the struggle to express in a picture the things seen without association but simply as things seen and it is only the things seen that are knowledge for Picasso. Related things are things remembered and for a creator, certainly for a Spanish creator, certainly for a Spanish creator of the twentieth century, remembered things are not things seen, therefore they are not things known. And so then always and always Picasso commenced his attempt to express not things felt, not things remembered, not established in relations but things which are there, really everything a human being can know at each moment of his existence and not an assembling of all his experiences. So that during all this last period of pure cubism, 1914—1917, he tried to recommence his work, at the same time he became complete master of his metier. It was the interval between 1914 and 1917 when his mastery of his technique became so complete that it reached perfection, there was no longer any hesitation, now when he knew what to do he could do what he wanted to do, no technical problem stopped him. But after all, this problem remained, how to express not the things seen in association but the things really seen, not things interpreted but things really known at the time of knowing them. All his life this had been his problem but the problem had become more difficult than ever, now that he was completely master of his technique he no longer had any real distraction, he could no longer have the distraction of learning, his instrument was perfected.

  At this period, from 1913 to 1917, his pictures have the beauty of complete mastery. Picasso nearly did all that he wanted to do, he put into his pictures nearly nothing that should not have been there, there were no cubes, there were simply things, he succeeded in only putting into them what he really knew and all that ended with the voyage to Italy and the preparation of Parade.

  After Italy and Parade he had his second naturalistic period of which anybody could recognise the beauty and his technique which was now perfected permitted him to create this beauty with less effort, this beauty existed in itself.

  These pictures have the serenity of perfect beauty but they have not the beauty of realisation. The beauty of realisation is a beauty that always
takes more time to show itself as beauty than pure beauty does. The beauty of realisation during its creation is not beauty, it is only beauty when the things that follow it are created in its image. It is then that it is known as beauty on account of its quality of fecondity, it is the most beautiful beauty, more beautiful than the beauty of serenity. Well.

  After Italy and Parade Picasso married and in 1918 he left Montrouge for the rue de la Boëtie, he stayed there until 1937 and during this time, 1919 to 1937, there were many things created, many things happened to the painting of Picasso.

  39 A BOTTLE OF WINE (1922)

  40 STILL LIFE IN OPPOSING COLOURS (1922)

  But let us return to calligraphy and its importance in Picasso’s art.

  It was natural that the cubism of 1913 to 1917 revealed the art of calligraphy to him, the importance of calligraphy seen as Orientals see it and not as Europeans see it. The contact with Russia, first through a Russian G. Apostrophe as they all called him, and later with the Russian ballet, stimulated his feeling for calligraphy which is always there in a Spaniard always since Spaniards have had for such a long time Saracen art always with them.

  And also one must never forget that Spain is the only country in Europe whose landscape is not European, not at all, therefore it is natural that although Spaniards are Europeans even so they are not Europeans.

  So in all this period of 1913 to 1917 one sees that he took great pleasure in decorating his pictures, always with a rather calligraphic tendency than a sculptural one, and during the naturalist period, which followed Parade and the voyage to Italy, the consolation offered to the side of him that was Spanish was calligraphy. I remember very well in 1923 he did two women completely in this spirit, a very little picture but all the reality of calligraphy was in it, everything that he could not put into his realistic pictures was there in the two calligraphic women and they had an extraordinary vitality.

  Calligraphy, as I understand it in him had perhaps its most intense moment in the décor of Mercure. That was written, so simply written, no painting, pure calligraphy. A little before that he had made a series of drawings, also purely calligraphic, the lines were extraordinarily lines, there were also stars that were stars which moved, they existed, they were really cubism, that is to say a thing that existed in itself without the aid of association or emotion.

  During all this time the realistic period was commencing to approach its end, first there had been portraits which ended with harlequins, for once Picasso had almost wished to look at models. The naturalistic painting changed to the large women, at first women on the shore or in the water, with a great deal of movement, and little by little the large women became very sculpturesque. In this way Picasso emptied himself of Italy. That is his way.

  During the year 1923 his pleasure in drawing was enormous, he almost repeated the fecondity and the happiness of his first rose period, everything was in rose. That ended in 1923. It was at this time that the classic period commenced, it was the end of Italy, it still showed in his drawings but in his painting he had completely purged himself of Italy, really entirely.

  Then came the period of the large still-lifes, 1927, and then for the first time in his life six months passed without his working. It was the very first time in his life.

  It is necessary to think about this question of calligraphy, it must never be forgotten that the only way Picasso has of speaking, the only way Picasso has of writing is with drawings and paintings. In 1914 and from then on it never stopped, he had a certain way of writing his thoughts, that is to say of seeing things in a way that he knew he was seeing them. And it was in this way that he commenced to write these thoughts with drawings and with painting. Oriental people, the people of America and the people of Spain have never, really never forgotten that it is not necessary to use letters in order to be able to write. Really one can write in another way and Picasso has understood, completely understood this way. To recapitulate. From 1914 to 1917 cubism changed to rather flat surfaces, it was no longer sculpture, it was writing and Picasso really expressed himself in this way because it was not possible, really not, to really write with sculpture, no, not.

  41 THE WHITE HORSE IN THE RING (1923)

  42 PORTRAIT OF MADAME PICASSO (1923)

  43 PORTRAIT OF MADAME PICASSO (1923)

  44 DEUX FEMMES CALLIGRAPHÍEES (1923)

  So it was natural that at this period, 1913 to 1917, during which time he was almost always alone, that he should recommence writing all he knew and he knew many things. As I have said, it was then he completely mastered the technique of painting. And this ended with Parade.

  Now a great struggle commenced again. The influence of Italy, the influence of everybody’s return from the war, the influence of a great deal of recognition and the influence of his joy at the birth of his son, precipitated him into a second rose period, a completely realistic period which lasted from 1919 to 1927. This was a rose period, it certainly was and in the same way as the first rose period it ended when Picasso commenced to strengthen and harden his lines and solidify the forms and the colors, in the same way that the first rose period changed with my portrait so this rose period changed about 1920 by painting enormous and very robust women. There was still a little the memory of Italy in its forms and draperies and this lasted until 1923 when he finished the large classical pictures. So the second rose period naturally ended in the same way as the first one had, that is to say by the triumph of Spain. It was during all this period that he first painted, about 1920 and 1921, very highly colored cubist pictures, very calligraphic and very colored and then more and more calligraphic and less colored. During all this time the color of this cubism was pure color, Ripolin paint, which he called the health of color.

  Later I will tell something about Picasso’s color which too, in itself, is a whole story.

  To continue.

  When the second rose period changed to the period of large women, around 1923, at the same time that calligraphy was in full activity, there commenced to be felt in the large pictures and it culminated in one of these large pictures La Danse, the fact that naturalism for Picasso was dead, that he was no longer seeing as all the world thought they saw.

  And as the pure period of cubism, that is to say the cubism of cubes, found its final explosion in Parade, so the pure writing of this period found its explosion in the ballet Mercure, in 1924 at the Soirees de Paris.

  Then a curious story commenced, like the story of the African period and that of Les Desmoiselles d’Avignon.

  Picasso had purged himself of Italy in his second rose period and the large women and the classical subjects. He always had Spain inside him, he can not purge himself of that because it is he, it is himself, so then the writing which is the continuation of cubism, if it is not the same thing, was always continuing, but now there was another thing, it was Russia, and to rid himself of that was a terrible struggle. During this struggle things seen as everybody can see them nearly dominated him and to avoid this, avoid being conquered by this, for the first time in his life, and twice since, he stopped painting, he ceased speaking as he knew how to speak, writing as he knew how to write, with drawings and with color.

  45 HEAD OF A MAN:

  Drawing in Chalk and Cut Paper

  46 SETTING FOR “MERCURE” (1923)

  47 TORSO: Ink Drawing (1906)

  We are now in 1924 and the production of Mercure.

  At this time he began to do sculpture. I say that Italy was completely out of him but Russia was still in him. The art of Russia is essentially a peasant art, an art of speaking with sculpture. It requires a greater detachment to know how to speak with drawings and with color than to speak with sculpture in cubes or in round and the African sculpture was cube and the Russian sculpture was round. There is also another very important difference, the size of the features and of the people in African sculpture is a real size, the size in Russian sculpture is an abnormal one so that one art is pure and the other fantastic and Picasso a S
paniard is never fantastic, he is never pornographic but Russian art is both. Again a struggle.

  The Spanish character is a mixture of Europe and the Orient, the Russian character is a mixture of the European and the Oriental but it is neither the same Europe nor the same Orient, but as it is the same mixture the struggle to become once more himself was harder than ever and from 1924 to 1935 this struggle lasted.

  During this time his consolation was cubism, the harlequins big and little, and his struggle was in the large pictures where the forms in spite of being fantastic forms were forms like everybody sees them, were, if you wish, pornographic forms, in a word forms like Russians can see them but not forms like a Spaniard can see them.