This was not true. Far from returning to Paris, Picasso stayed on to be feted by these “very dangerous” people. When he left, it was not to return to Paris but to go on to Burgos—and not by train but in his Hispano-Suiza. To Picasso’s fury, Giménez Caballero announced to the press that “the Picasso meeting … [was] a resounding propaganda coup…. the artist had been finally won over to the right by Primo de Rivera’s unctuous charm.”40 This outright lie convinced Picasso that he could no longer stay above the fray. It was time to commit himself: when he emerged from the political closet, he became a passionate supporter of the Republican cause in Spain and, thanks to the strategic blandishments of the opportunistic Eluard, a vocal supporter of the left in France. The comparison of Picasso’s eyes to Mussolini’s had settled that. In due course, an exhibition—by no means a retrospective—would take place shortly before civil war broke out in 1936,41 under Republican as opposed to Falangist auspices as a result of Eluard’s intervention.
Within two years of the San Sebastián dinner, José Antonio would be dead— arrested and executed by the Republican militia, a victim of the civil war that his Falange had provoked. In commemoration of El Jefe’s “martyrdom,” Franco would rename many of the main streets in large cities of Spain Avenida José Antonio Primo de Rivera. Meanwhile (April 1935), Picasso’s cousin, the gallant general, had died of throat cancer. As Pando Despierto, who finally published “the terrible papers of General Picasso,” observed, “there were no speeches nor a state funeral… nor is there a street named after the general who saved the moral integrity of the military at the cost of suffering a personal Calvary.”42 No matter, his cousin Pablo would immortalize the name.
The outbreak of civil war in Spain would politicize Picasso and re-Hispanicize his art, as witness his antifascist icon Guernica, which is thought by many, though not the artist—he attached more importance to Les Demoiselles d’Avignon and La Danse— to be his finest work. To Picasso’s delight, refugee painters, poets, and architects, not to mention two of his Vilató nephews, settled in Paris and enabled him finally to establish a Spanish tertulia. Despite pressure from Eluard among others, Picasso did not join the Communists, just as he had resisted joining the surrealists. He would not do so until the end of World War II. According to Dora Maar,43 who was living with Picasso at the time, his ultimate conversion to communism was partly the consequence of his short-lived admiration of de Gaulle for liberating Paris. An invitation to dine with a group of leading Gaullists put paid to that. Their right-wing agenda put such a scare into Picasso that, without informing Dora, he joined the Communists a few days later. With Aragon and Joliot-Curie, the artist would become one of the party’s “Three Musketeers,”44 who were trotted out on appropriate cultural occasions to help rally the masses. He was also under pressure to come up with agitprop: the less said about the mercifully few examples, the better. At heart, Picasso never forsook his old gods. As he told a Spanish friend in the 1930s, “God is really another artist… like me. … I am God, I am God, I am God …”45
SHORT TITLES
Abbreviations of archives and libraries where original documents are located:
Archives Picasso Picasso Archives at the Musée National Picasso, Paris
Beinecke Library Gertrude Stein Archives, Beinecke Library, Yale University, New Haven, Conn.
Pierpont Morgan Library Archives (Diaghilev/De Falla, Rosenberg), Pierpont Morgan Library, New York
Ransom Center Harry Ransom Humanities Research Center, University of Texas at Austin
Short titles of catalogs used to identify works by Picasso:
Baer Brigitte Baer. Picasso: Peintre-Graveur. 7 vols. (Original editions of vols.
I–II by Bernhard Geiser.) Bern: Kornfeld, 1933–96.
JSLC Arnold Glimcher and Marc Glimcher, eds. Je suis le cahier: The Sketch-
books of Picasso. New York: Pace Gallery, 1986.
MP Musée Picasso: Catalogue sommaire des collections. 2 vols. Paris: Réunion
des musées nationaux, 1985, 1987.
MP Carnets Musée Picasso: Carnets: Catalogue des dessins. 2 vols. Paris: Réunion des
musées nationaux, 1996.
PF.III Josep Palau i Fabre. Picasso: From the Ballets to Drama (1917-1926).
Trans. by Richard-Lewis Rees. Hagen, Germany: Könemann, 1999.
S. Werner Spies. Picasso: The Sculptures. Trans. by Melissa Thorson House
and Margie Mounier. Ostfildern/Stuttgart: Hatje Canz, 2000.
Z. Christian Zervos. Pablo Picasso. 33 vols. Paris: Cahiers d’Art, 1932–78.
Short titles of principal sources cited in the notes:
Adéma Pierre Marcel Adéma. Guillaume Apollinaire. Paris: La Table Ronde, 1968.
Aragon Louis Aragon. Ecrits sur l’art moderne. Paris: Flammarion, 1981.
Armel Aliette Armel. Michel Leiris. Paris: Fayard, 1997.
Arnaud Claude Arnaud. Jean Cocteau. Paris: Gallimard, 2003.
Assouline Pierre Assouline. An Artful Life: A Biography of D. H. Kahnweiler,1884–1979. Trans. Charles Ruas. New York: Grove Weidenfeld, 1990. Originally published 1988.
Axsom Richard Hayden Axsom. Parade: Cubism as Theater. Ann Arbor: University of Michigan Press, 1994
Bach Friedrich Teja Bach. Constantin Brancusi: Metamorphosen Plastischer Form. Cologne: Dumont, 1987.
Baer 1997 Brigitte Baer. Picasso the Engraver. Trans. Iain Watson and Judith Schub.
London: Thames and Hudson, 1997.
Baldassari 1997 Anne Baldassari. Picasso and Photography: The Dark Mirror. Trans. Deke
Dusinberre. Houston: Museum of Fine Arts, 1997.
Baldassari 1998a Anne Baldassari. “Olga Koklova and Dance.” In Picasso 1917–1924.
Venice: Palazzo Grassi, 1998, 87–92.
Baldassari 1998b Anne Baldassari. “1917–21: Tracing Picasso’s Iconography from L’Ital-
ienne (The Italian Woman) to Trois femmes à lafontaine (Three Women at
the Spring).” In Picasso 1917-1924. Venice: Palazzo Grassi, 1998, 100-5.
Baldassari 2002 Anne Baldassari. “Exposition ‘Matisse-Picasso,’ galerie Paul Guillaume,
Paris, 1918.” In Matisse Picasso. Paris: Réunion des musées nationaux,
2002, 361–4.
Baldassari 2005 Anne Baldassari. Bacon/Picasso: La Vie des images. Paris: Flammarion,
2005.
Barr Alfred H. Barr Jr. Picasso: Fifty Years of His Art. New York: Museum of
Modern Art, 1980. Originally published 1946.
Beaumont Cyril W. Beaumont. The Diaghilev Ballet in London: A Personal Record.
London: Putnam, 1945.
Bell Clive Bell. Old Friends: Personal Recollections. London: Chatto and Win-
dus, 1956.
Bernadac and Michaël Marie-Laure Bernadac and Androula Michaël. Picasso: Propos sur l’art.
Paris: Gallimard, 1998.
Bernadac and Piot Marie-Laure Bernadac and Christine Piot, eds. Picasso: Collected Writ-
ings. Trans. Carol Volk and Albert Bensoussan. London: Aurum Press,
1989.
Bernier Rosamond Bernier. “48, Paseo de Gracia.” L’Eil, no. 4 (April 15, 1955),
4–13.
Billot Marcel Billot. Journal de LAbbé Mugnier (1879-1939). Paris: Mercure
de France, 1935.
Blanche Jacques-Emile Blanche. “Retrospective Picasso.” LArt Vivant 3 (July
1932), 333–41.
Boehm, Mosch, and Schmidt Gottfried Boehm, Ulrich Mosch, and Katharina Schmidt. Canto
dAmore: Classicism in Modern Art and Music 1914-1935. Basel: Kunst-
museum, 1996.
Boggs Jean Sutherland Boggs. Picasso & Things. Cleveland: Cleveland Museum
of Art, 1992.
Bois Yve-Alain Bois. Matisse and Picasso. Paris: Flammarion, 2001.
Boyd Carolyn P. Boyd. Praetorian Politics in Liberal Spain. Chapel Hill: Univer-
sity of North Carolina Press, 1979.
Brassaï Brassaï. Picasso and Co
mpany. Trans. Francis Price. Garden City, N.Y:
Doubleday, 1966. Originally published 1964.
Brenan Gerald Brenan. The Spanish Labyrinth: An Account of the Social and
Political Background of the Civil War. Cambridge, U.K.: Cambridge University Press, 1964.
Buckle 1971 Richard Buckle. Nijinsky. London: Weidenfeld and Nicolson, 1971. Reprinted by Penguin Books, 1980.
Buckle 1979 Richard Buckle. Diaghilev. London: Weidenfeld and Nicolson, 1979. Reprinted by Hamish Hamilton, 1984.
Buffet-Picabia Gabrielle Buffet-Picabia. Rencontres avec Picabia, Apollinaire, Cravan,
Duchamp, Arp, Calder. Paris: Belfond, 1977.
Buñuel Luis Buñuel. Mi ultimo suspiro (Memorias). Barcelona: Plaza & Janes,
1982.
Pierre Cabanne. Pablo Picasso: His Life and Times. Trans. Harold J.
Cabanne 1977
Salemson. New York: William Morrow, 1977.
Cabanne 1984 Pierre Cabanne. “Picasso et les joies de la paternité.” L’Eil, no. 226
(1974), 1–10.
Cabanne 1992 Pierre Cabanne. Le Siècle de Picasso. Vol. 2, L’Epoque des métamor-
phoses. Paris: Denoël, 1992.
Caizergues and Seckel Pierre Caizergues and Hélène Seckel. Picasso/Apollinaire: Correspon-
dance. Paris: Gallimard, 1992.
Canseco-Jerez Alejandro Canseco-Jerez. Le Mecenat de Madame Errazuriz. Paris: L’Har-
mattan, 2000.
Carandente Giovanni Carandente. “Picasso and the Italian Scene.” In Picasso
1917–1924. Venice: Palazzo Grassi, 1998, 31–48.
Chapon 1984 François Chapon. Jacques Doucet ou l’art du mécénat. Paris: Perrin, 1996.
Originally published 1984.
Chapon 1987 François Chapon. Le Peintre et le livre: L’Age d’or du livre illustré en
France 1870-1970. Paris: Flammarion, 1987.
Charles-Roux Edmonde Charles-Roux. Chanel: Her Life, Her “World—and the Woman
behind the Legend She Herself Created. Trans. Nancy Amphoux. London:
Jonathan Cape, 1975. Originally published 1974.
Cline Sally Cline. Zelda Fitzgerald: Her Voice in Paradise. New York: Arcade,
2002.
Cocteau 1989 Jean Cocteau. Lettres à sa mère. Paris: Gallimard, 1989.
Combalía Victoria Combalía. Picasso-Miró: Miradas cruzadas. Madrid: Electa,
1998.
Douglas Cooper. Picasso Theatre. London: Weidenfeld and Nicolson,
Cooper
1968.
Cousins and Seckel Judith Cousins and Hélène Seckel. “Chronology of Les Demoiselles d’Av-
ignon, 1907 to 1939.” In Les Demoiselles dAvignon: Studies in Modern
Art 3. New York: Museum of Modern Art, 1994, 145–205.
Cowling 2002 Elizabeth Cowling. Picasso: Style and Meaning. London: Phaidon, 2002.
Cowling 2006 Elizabeth Cowling. Visiting Picasso: The Notebooks and Letters of Roland
Penrose. London: Thames and Hudson, 2006.
Daix 1977 Pierre Daix. La Vie de peintre de Pablo Picasso. Paris: Seuil, 1977.
Daix 1993 Pierre Daix. Picasso: Life and Art. Trans. Olivia Emmet. New York:
HarperCollins, Icon Editions, 1993. Originally published 1987.
Daix 1995 Pierre Daix. Dictionnaire Picasso. Paris: Robert Laffont, 1995.
Danchev Alex Danchev. Georges Braque: A Life. London: Hamish Hamilton,
2005.
Derouet 1999 Christian Derouet. “Juan Gris: Correspondances avec Léonce Rosenberg
1915-1927.” Les Cahiers du Musée national d’art moderne. Paris: Centre
Pompidou, 1999.
Derouet 2000 Christian Derouet. “Francis Picabia: Lettres à Léonce Rosenberg
1929-1940.” Les Cahiers du Musée national d’art moderne. Paris: Centre
Pompidou, 2000.
Derouet 2006 Christian Derouet. Cahiers d’Art: musée Zervos à Vézelay. Paris: Hazan,
2006.
Dolin Anton Dolin. Divertissement. London: Sampson Low, Marston, 1931.
Donnelly Honoria Murphy Donnelly with Richard N. Billings. Sara & Gerald: Villa
America and After. New York: Times Books, 1982.
Duke Vernon Duke. Passport to Paris. Boston: Little, Brown, 1955.
Everling Germaine Everling. LAnneau de Saturne. Paris: Fayard, 1970.
Ferran A[ngel] F[erran]. “Interviu amb Picasso.” La Publicitat, October 19,
1926.
FitzGerald 1988 Michael C. FitzGerald. Pablo Picasso’s Monument to Guillaume Apolli-
naire: Surrealism and Monumental Sculpture in France 1918-1959. Ann
Arbor, Mich.: Garland Press, 1988.
FitzGerald 1995 Michael C. FitzGerald. Making Modernism: Picasso and the Creation of
the Market for Twentieth-Century Art. New York: Farrar, Straus and
Giroux, 1995.
FitzGerald 1996 Michael C. FitzGerald. “The Modernists’ Dilemma: Neoclassicism and
the Portrayal of Olga Khokhlova.” In Picasso and Portraiture: Representa-
tion and Transformation. New York: Museum of Modern Art (1996),
296–335.
Flam Jack Flam. Matisse Picasso: The Story of Their Rivalry and Friendship.
Cambridge, Mass.: Westview Press, 2003.
Florman Lisa Florman. Myth and Metamorphosis: Picasso’s Classical Prints of the
1930s. Cambridge, Mass.: MIT Press, 2002.
García-Márquez Vicente García-Márquez. Massine: A Biography. New York: Knopf, 1995.
Gasman Lydia Gasman. Mystery, Magic and Love in Picasso, 1925-1938: Picasso
and the Surrealist Poets. Ann Arbor, Mich.: University Microfilms, 1981.
Gee Malcolm Gee. Dealers, Critics, and Collectors of Modern Painting: Aspects
of the Parisian Art Market Between 1910 and 1930. New York: Garland
Publishing, 1981.
Geelhaar Christian Geelhaar. Picasso: Wegbererter und Förderer seines Aufstiegs
1899–1939. Zurich: Palladion, 1993.
Georges-Michel 1923 Michel Georges-Michel. Ballets Russes. Paris: Editions du monde nou-
veau, 1923.
Georges-Michel 1957 Michel Georges-Michel. From Renoir to Picasso: Artists I Have Known.
London: Gollancz, 1957.
Gibson 1989 Ian Gibson. Federico García Lorca: A Life. London: Faber and Faber,
1989.
Ian Gibson. The Shameful Life of Salvador Dalí. London: Faber and
Gibson 1997
Faber, 1997.
Gillmor Alan M. Gillmor. Erik Satie. Basingstoke, U.K.: Macmillan, 1988.
Gilmore 1998 David D. Gilmore. Carnival Culture: Sex, Symbol and Status in Spain.
New Haven, Conn.: Yale University Press, 1998.
Gilot 1964 Françoise Gilot with Carlton Lake. Life with Picasso. New York:
McGraw-Hill, 1964.
Gilot 1990 Françoise Gilot. Matisse and Picasso: A Friendship in Art. London:
Bloomsbury 1990.
Giménez Carmen Giménez. Picasso and the Age of Iron. New York: Guggenheim Museum, 1993.
Giménez Caballero Ernesto Giménez Caballero. Memorias de un dictador. Madrid: Planeta, 1979.
Gimpel René Gimpel. Diary of an Art Dealer. New York: Farrar, Straus and Giroux, 1966.
Goeppert Sebastian Goeppert and Herma C. Goeppert-Frank. Minotauromachy by Pablo Picasso. Zurich: Patrick Cramer, 1987.
Gold and Fizdale Arthur Gold and Robert Fizdale. Misia: The Life of Misia Sert. New York: Morrow Quill, 1981.
Gombrich E. H. Gombrich. Art and Illusion. London: Phaidon, 1960.
Grigoriev S. L. Grigoriev. The Diaghilev Ballet 1909-1929. Trans. Vera Bowen. Harmondsworth, U.K.: Penguin, 1960. Originally published 1953.
Guillen Robles F. Guillen Robles. Málaga Musulmana. Málaga, 1957.
Häger Bengt Häger. Ballets Suédois. Trans. Ruth Sharman. London: Thames and Hudson, 1990. Originally published 1989.
&nb
sp; Holroyd 1968 Michael Holroyd. Lytton Strachey: A Critical Biography. Vol. II, The Years of Achievement (1910-1932)‘. New York: Holt, Rinehart and Winston, 1968.
Holroyd 1996 Michael Holroyd. Augustus John. London: Chatto and Windus, 1996.
Hubert Etienne-Alain Hubert. “Was Les Demoiselles dAvignon exhibited in 1918?” In Les Demoiselles dAvignon: Studies in Modern Art 3. New York: Museum of Modern Art, 1994, 206–10.
Hugo 1953 Valentine Hugo. “Il y a trente ans.” La Parisienne, December 1953. Reprinted in De Valentine Gross à Valentine Hugo. Boulogne-sur-Mer: Bibliothèque Municipale, 2000, 19–28.
Hugo 1983 Jean Hugo. Le Regard de la mémoire. Arles: Actes Sud, 1983.
Johns Catherine Johns. Sex or Symbol: Erotic Images of Greece and Rome. Austin: University of Texas Press, 1982.
Kahnweiler 1949 Daniel-Henry Kahnweiler. The Sculptures of Picasso. Trans. A. D. B. Sylvester. London: Rodney Phillips, 1949.
Kahnweiler 1956 Daniel-Henry Kahnweiler. “Entretiens avec Picasso.” Quadrum, no. 2 (November 1956), 73–6.
Kahnweiler 1971 Daniel-Henry Kahnweiler with Francis Crémieux. My Galleries and Painters. Trans. Helen Weaver. New York: Viking, 1971. Originally published 1961.
Kahnweiler-Gris 1956 Daniel-Henry Kahnweiler. Letters of Juan Gris. Trans. Douglas Cooper. London: Privately printed, 1956.
Kammen Michael Kammen. The Lively Arts: Gilbert Seldes and the Transformation of Cultural Criticism in the United States. New York: Oxford University Press, 1996.
Karsavina Tamara Karsavina. Theatre Street. London: Readers Union, 1950. Originally published 1948.
Kaufmann Ruth Kaufmann. “Picasso’s Crucifixion of 1930.” In The Body on the Cross. Paris: Musée Picasso, 1993, 74–83.
Kean Beverly Whitney Kean. All the Empty Palaces: The Merchant Patrons of Modern Art in Pre-Revolutionary Russia. New York: Universe Books, 1983.
Kimball Anne Kimball. Max Jacob/Jean Cocteau Correspondance 1917-1944. Paris: Editions Paris-Méditerranée, 2002.
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Kochno Boris Kochno. Le Ballet. Paris: Hachette, 1954.
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