66. D.-H. Kahnweiler, November 17, 1949, in Bernadac and Michaël, 85.
67. Letter from Cocteau to his mother, March 22, 1917, Cocteau 1989, 310.
68. Ansermet, quoted by Cooper, 32. When asked by Cooper whether he had seen the Sistine ceiling in 1917, Picasso said yes. (Cooper’s papers, The Getty Research Institute, L.A.)
69. Pitti Palace, Florence. Carandente, 37, suggests that Picasso derived inspiration from Guido Reni’s portrait of Beatrice Cenci in the Palazzo Barberini.
CHAPTER 2
Naples
1. Arnaud, 778.
2. Ibid.
3. Postcard from Cocteau to his mother, March 13, 1917, Cocteau 1989, 306.
4. Steegmuller 1986, 181.
5. Caizergues and Seckel, 147.
6. Postcard from Cocteau to his mother, March 12, 1917, Cocteau 1989, 306.
7. Massine, 108.
8. Ibid.
9. Sokolova 1960, 98.
10. Walsh, 614 n. 31, thinks that the provisional government in Petrograd’s choice of “The Volga Boat Song” most unlikely.
11. Craft, 104.
12. Letter from Ernest Ansermet to Stravinsky (February 21, 1917), quoted in Walsh, 41.
13. Ibid., 266.
14. Letter from Picasso to Gertrude Stein, April 1917, Beinecke Library.
15. Menaker-Rothschild, 189.
16. Léger’s lecture at the Académie Wassilieff in 1913, was mentioned by Apollinaire in The Cubist Painters. Read 2002, 91.
17. Vol. II, 406 (Z.II.881).
18. Z.VI.1431.
19. Buckle 1979, 328. Walsh, 278, confirms that the company played only twice at the Teatro San Carlo. Carandente, 42, claims that there were four performances and that Les Femmes de bonne humeur received a long ovation.
20. MP Carnets I, cat. 19 (MP 1867).
21. Arnaud, 174.
22. Walsh, 277.
23. Ibid.
24. See Johns, 89–90.
25. Stravinsky 1959, 105.
26. Carandente, 41. According to Baedecker’s Southern Italy and Sicily (1930), 37, these Pul-cinella shows harked back to the fibula Atellana, the early Roman farces that originated a few miles outside Naples in the town of Atella.
27. See MP Carnets I, 265. The figures on the postcard are from a play, Tre Amante de Lauretta. The original setting included a backdrop of Vesuvius and a prompter’s box with a hand sticking out of it.
28. See MP Carnets I, 266.
29. Letter from Picasso to Stein, April 1917, Beinecke Library.
30. See Cocteau’s Italian notebook, 1917, reproduced in Menaker-Rothschild, 62.
31. Photographs of the Gabinetto Segreto as it was in Picasso’s time reveal a setting rather more redolent of antiquity: terracotta phalluses the size of chimney pots piled up in great heaps. Information supplied by John Clarke.
32. Originally a central feature of the Baths of Caracalla, the monumental Hercules had been acquired by Michelangelo’s patron, Alessandro Farnese.
33. Z.IV.380.
34. See, for example, Z.IV.346–7.
35. Letter from Cocteau to Picasso, April 15, 1917, Archives Picasso.
36. Letter from Cocteau to Picasso, April 13, 1917, ibid.
37. Morand 1996, 237.
38. Cabanne 1992. 480.
CHAPTER 3
Parade
1. Letter from Apollinaire to Picasso [December 15, 1916], Caizergues and Seckel, 139.
2. Letter from Apollinaire to Picasso, [March 22, 1917], ibid., 149–50.
3. See Vol. II, 153–4.
4. A projected “profile” of Diaghilev by Apollinaire never materialized.
5. Letter from Apollinaire to Paul Dermée, [March 1917], published in Surréalisme (October 1924).
6. Letter from Gris to Léonce Rosenberg, May 15, 1917, Derouet 1999, 54.
7. Proust also referred to Misia as “a monument;” see Morand 1996, 209.
8. Ibid.
9. From the unpublished memoir of Boulos Ristenhueber, courtesy of Bernard Minoret.
10. These previously unidentified photographs are in the Archives Picasso.
11. PF.III.214.
12. For further biographical information about Férat and Oettingen, see Vol. II, Chapter 25, 395–406.
13. Ibid.
14. Grigoriev, 131.
15. See Z.XXIX.290.
16. See Vol. II, 199.
17. MP 1613; see Menaker-Rothschild, 157.
18. Z.II.2.
19. Shattuck, 121.
20. Ibid.
21. Axsom 1975, 90.
22. Satie in a letter to Valentine Gross (December 12, 1916); see Lake and Ashton, 58.
23. Arnaud, 179.
24. Vol. I, 384 (Z.I.285).
25. See Vol. II, 422.
26. Massine, 106.
27. Polunin, 59.
28. Barr, 98.
29. Picasso, Braque, Gris, and Léger.
30. Gleizes, Metzinger, etc.; see Vol. II, Chapter 14, 207–19.
31. See, for example, B. M. A. Danilowitz, “The Iconography of Picasso’s Ballet Designs 1917–1924,” master’s thesis (Johannesburg, 1985), 120; also García Márquez, 98; and Cowling 2002, 300.
32. Palau 1999, 48.
33. See Picasso’s drawing of himself as a monkey; Vol. I, 259.
34. Axsom, 124, was the first writer to see the monkey’s significance.
35. Gasman to the author.
36. See Vol. I, 68–9, for more information about Picasso’s first mistress, Rosita del Oro, including her 1897 poster.
37. The gala also benefited front-line canteens, Polish prisoners of war, refugees from the Ardennes, and other charities.
38. According to Domingo Carles, Renoir attended the premiere of Parade; in Memorias de un pintor (Barcelona: Editorial Barna, 1944), 76.
39. Francis Poulenc, My Friends and Myself, trans. James Harding (London: Dobson, 1978), 68.
40. Arnaud, 180.
41. Cahiers Jean Cocteau I (Paris: Gallimard, 1969), 71–2.
42. Paul Morand quoted in Buckle 1979, 332.
43. Arnaud, 180; see also Vol. II, 390.
44. Stravinsky 1959, 104.
45. Fine Arts Museums, San Francisco.
46. Cooper, 26.
47. Barbara Bagenal to the author.
48. Schneider, 735.
49. Apollinaire describes “the realistic steps of the horse … formed by two dancers.” See LeRoy C. Breunig, Apollinaire on Art: Essays and Reviews 1902-1918 (New York: Viking, 1972), 452.
50. Ibid., 453.
51. Arnaud, 179.
52. Steegmuller 1970, 186.
53. Jean Cocteau, “Parade Réaliste: In which Four Modernist Artists have a Hand,” Vanity Fair, September 1917, 90.
54. Buckle 1979, 331.
55. Letter from Gris to Maurice Raynal, May 23, 1917, Kahnweiler-Gris 1956, 18.
56. Morand 1996 (May 19, 1917), 143–4.
57. Letter from Jean Metzinger to Léonce Rosenberg, May 25, 1917, quoted in Cowling 2002, 303–4.
58. Valentine Gross quoted in Buckle 1979, 253.
59. According to Stravinsky in ibid., 254.
60. Morand 1996, 307.
61. Steegmuller 1970, 225.
62. Ibid., 232.
63. Jean Cocteau, Les Foyers (1947), cited by Axsom, 65.
64. Massine supervised both of these revivals of Parade. Cooper was instrumental in getting Picasso’s permission to make certain changes.
65. Buckle’s 1955 exhibition, In Search of Diaghilev, was shown first in Edinburgh and then in London.
66. Whiting, 474.
67. James Harding, The Ox on the Roof (London: Macdonald, 1972), 37.
68. See Le Carnet de la Semaine, June 7, 1917.
69. Volta 1989, 131–40.
70. Volta 2000, 179.
71. Seckel, 145.
72. Kikimora was also the name of the witch in Comtes russes, a ballet based on Russian fairy tales.
73. Baer, 54.
7
4. Sachs, 216–17.
75. A postcard from Olga to Picasso, May 29, 1917, Archives Picasso, indicates that she had already left for Madrid with the company. The card was forwarded from Montrouge to the Teatro Real, Madrid, suggesting that Picasso was on his way to Spain when the card arrived.
CHAPTER 4
The Ballet in Spain
1. Room 188.
2. Buckle 1979, 332.
3. According to Romola Nijinsky in Buckle 1971, 460.
4. Ibid.
5. García-Márquez, 111.
6. Buckle 1979, 336.
7. Lydia Sokolova was an English dancer, originally called Hilda Munnings. Diaghilev had Russified her name to Munningsova before changing it to Sokolova. See Sokolova 1960, 34, 69.
8. Buckle 1979, 334.
9. Buckle 1971, 463.
10. The portrait of Fatma (Z.III.45) was referred to as “jewel-like” in La Veu de Catalunya, June 18, 1917.
11. According to Juan Ainaud de Lasarte, Padilla’s girlfriend mispronounced the Spanish word for sausage: salchichón. Hence she was known as “La Salchichona.” Picasso i Barcelona (Barcelona: Saló del Tinell 1981), 244.
12. La Publicidad, June 13, 1917, gives an account of the dinner, which was held at the Lyon d’Or restaurant.
13. Picasso’s portrait of Maetzu appeared on the cover of Vell i Nou, July 1, 1917; it also published Josep Junoy’s article about Picasso.
14. Telegram from Serge Diaghilev and Olga to Picasso, June 13, 1917, Archives Picasso.
15. Grigoriev, 132.
16. See Vol. I, 157.
17. Gregoriev, 132.
18. La Epoca, June 20, 1917.
19. Ramón Gómez de la Serna, Completa y verídica historia de Picasso y el cubismo (Milan: Chiantore, 1945), 43–4.
20. Gilot 1964, 148.
21. Undated [1917] letter from Marie Lau-rencin to Henri-Pierre Roché, Ransom Center.
22. Flora Groult, Marie Laurencin (Paris: Mer-cure de France, 1987), 168.
23. Morand 1996, 436–7. Delaunay’s Russian wife Sonia was also arrested as a spy.
24. Picabia’s grandfather had emigrated from Corunna to Cuba, made a fortune as a coffee planter, returned to Spain, and made another fortune in railroad construction. Picabia’s family was exceedingly rich; his father had been born in Havana and later settled in Paris, where he married the daughter of a wealthy French businessman.
25. For a description of 391 see Gabrielle Buffet-Picabia, “Some Memories of Pre-Dada: Picabia and Duchamp,” The Dada Painters and Poets (New York: Wittenborn, Schulz, 1981), 262.
26. 391, no. 1 (January 25, 1917), 4.
27. See Krauss 1998, 113–14. By taking Picabia’s squib too seriously, Krauss arrives at some questionable conclusions.
28. Picasso is reported by Pharamousse (391, no. 4 [March 25, 1917], 8) to have said: “I want to give public proof of my right to the crown I have placed on my head. Spanish on my father’s side, Italian on my mother’s, and French by education, [I see] the purity of my origins as the sign of my innate royalty. Some people aspire to be sacred supermen, because they have read Nietzsche; others see themselves elevated to the rank of emperor…. Apostle of every liberty, I have however recognized the authority of the masters. And I owe everything to Leonardo da Vinci, Greco, Goya, sculpture both Greek and tribal, Apollinaire, André Salmon, Max Jacob, my paint supplier, and Monsieur Kahnweiler.”
29. Letter from Francis Picabia to Picasso, January 14, 1922, Archives Picasso.
30. According to Romola Nijinsky in Buckle 1971, 465.
31. Grigoriev, 134.
32. Buckle 1971, 470.
33. Olga loathed ocean voyages. On the trip to South America in 1912, she was supposedly seasick every single day. Ibid., 381.
34. Charles Deering was restoring a former hospital on a beautiful outcrop of land next to Santiago Rusiñol’s Cau Ferrat. He was also making a collection of Spanish masterpieces (now in the Art Institute of Chicago) and rare books.
35. Nijinsky had been disgusted by the ugly stains on the pillows left by Diaghilev’s dyed hair.
36. Buckle 1979, 335.
37. Ibid., 336.
38. Ibid.
39. Letter from Max Jacob to Jacques Doucet, August 4, 1917. Chapon 1984, 243.
CHAPTER 5
With Olga in Barcelona
1. See, for example, Z.III.41 and Z.XXIX.300.
2. This dress was given by Olga’s granddaughter, Marina, to the Musée Picasso.
3. Z.III.83.
4. Conde de Sert to the author.
5. Z.III.40.
6. According to Dora Maar in conversation with the author. She was mistaken. This had happened at the Ritz in Madrid, not the Hotel National.
7. Bernier, 8; Combalía, 35.
8. MP Carnets I, cats. 20–1 (MP 1866, MP 1990-103).
9. Marina Picasso Collection, 2192.
10. PF.III.130.
11. FitzGerald’s claim that Picasso gave the painting to his mother, “who kept it throughout the remainder of her life,” is incorrect. See “Neoclassicism and Olga Khokhlova,” Picasso and Portraiture (New York: Museum of Modern Art, 1996), 306.
12. PF.III.165.
13. Z.VIII.21.
14. Z.III.19.
15. See Vol. I, 195.
16. Vol. II, 340.
17. Vol. I, 195; Vol. II, 340.
18. Vollard did not give a lecture on Picasso as rumored. His lecture, “Ingres according to Renoir,” was published in the June number of La Revista.
19. See Vol. I, 170–1.
20. Marilyn McCully, Els Quatre Gats: Art in Barcelona around. 1900 (Princeton: Art Gallery, 1978), 134.
21. Letter from Joan Miró to Enric Ricart, July 18, 1920, quoted by Robert Lubar, “El Mediter-ráneo de Miró: Concepciones de una identidad cultural,” in Joan Miró (Barcelona: Fundacó Joan Miró, 1993), 43.
22. Z.III.28. Picasso told Palau that the Harlequin was definitely not a portrait of Massine, as is often said. Palau 1999, 71.
23. Pallarès had replaced Picasso’s father as a teacher at La Llotja.
24. Troços, no. 1 (September 1917).
25. See Joan-Josep Tharrats, Picasso i els artistes catalans en el ballet (Barcelona: Edicions del Cotal, 1982), 75.
26. Letter from Doucet to Roché, 1917, Ransom Center.
27. Letter from Max Jacob to Doucet, August 4, 1917, Chapon 1984, 243.
28. JSLC 62 (Museu Picasso, Barcelona, MPB 110-012).
29. Ernest Ansermet, “Ma Rencontre avec Picasso,” in Boehm, Mosch, and Schmidt, 190.
30. Z.III.70.
31. MP Carnets I, cat. 20 (MP 1866).
32. Gross’s card was enclosed in a note from Cocteau to Picasso, Archives Picasso.
33. Letter from Picasso to Apollinaire, October 18, 1917, Caizergues and Seckel, 162.
34. Palau 1999, 486.
35. Z.III.47. According to Miró this view was painted from Doña María’s apartment. See Com-balía, 35.
36. Palau 1999, 486. Palau identifies the anonymous critic as Eugeni d’Ors.
37. La Revista, December 1, 1917.
38. Letter from Robert Delaunay to Albert Gleizes, 1917, quoted in Silver, 148.
39. Letter from Cocteau to Picasso, September 30, 1918, Archives Picasso.
40. Axel Madsen, Sonia Delaunay: Artist of the Lost Generation (New York: McGraw-Hill, 1989), 227.
41. Picasso wrote Stein that he had had to leave his Barcelona paintings behind for the unlikely reason that they were “objets de luxe,” January 8, 1918, Beinecke Library.
CHAPTER 6
Return to Montrouge
1. Severini, 182.
2. Z.III.106.
3. For Picasso’s collection of primitive sculptures, see Seckel-Klein, 236–53. Also see Rubin 1984, 247, about the influence of this mask on Picasso’s 1912 constructions.
4. The bills include one for a lunch, dated March 20, 1918, Archives Picasso.
5. Letter from Erik Satie to Roland-Manuel, March 14, 1
918, Volta 1989, 129.
6. FitzGerald 1995, 82. The receipt, dated January 12, 1918, is in the Pierpont Morgan Library.
7. Letter from Paul Guillaume to Picasso, January 18, 1918, Archives Picasso.
8. Letter from Guillaume to Picasso, December 15, 1917, Archives Picasso.
9. Hubert, 206–7.
10. Quoted in Flam, 115.
11. Quoted in Henri Hayden (Dublin: Hugh Lane Municipal Gallery, 1994), 22.
12. Z.II.18. The Demoiselles was exhibited in Paris at the Salon d’Antin in 1916. See Vol. II, 19.
13. “Pinturrichio,” Carnet de la semaine, February 3, 1917. The nineteen-second film featured Matisse’s 1916 Interior of the Studio, Picasso’s 1915 Guitar (mistakenly identified as Femme à la mandoline), and a 1907 Tête d’homme. See Bal-dassari 2002.
14. Hubert, 208.
15. Billot, 362.
16. See Chapter 3.
17. Letter from Satie to Picasso, October 10, 1918, Archives Picasso.
18. Cabanne 1992, 513.
19. Seckel, 155.
20. Steegmuller 1970, 206, suggests that the title is a pun on Cocteau’s name; also, “Cocteau is a diminutive, a contraction of coqueteau, meaning “little cock.”
21. Morand 1996, 337. Allais was a whimsical humorist who had been associated, like Satie, with the Chat Noir cabaret.
22. According to Francis Hugo 1983, 124, Cocteau told Les Six to derive ideas from popular culture, for example “le French can-can.”
23. Cocteau quoted in Walsh, 380.
24. According to Francis Poulenc, a leading light of Cocteau’s Rappel à l’ordre. Poulenc, 43.
25. Axsom, 58.
26. Silver, 131.
27. Ibid.
28. Daix 1993, 230.
29. See Louis Aragon, “Calligrammes,” L’Esprit nouveau, October 1920, in Sanouillet, 67.
30. Z.III.102.
31. See Vol. II, 167–72.
32. See, for example, Z.II.944.
33. Z.III.142. When ignorant of a work’s provenance, Palau demeans his useful corpus of plates by wrongly attributing works to “the artist’s heirs,” such as PF.III, 245 (Z.III.142). This painting was for many years in Cooper’s collection.
34. Letter from Henri Danet to Picasso, December 9, 1917, Archives Picasso.
35. FitzGerald 1995, 79, reproduced 19.
36. Z.III.98–100 and PF.III.205.
37. Cabanne 1977, 194.
38. Z.III.83.
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