39. See letter from Eugenia Errázuriz to. Picasso, January 31, 1918, Archives Picasso, suggesting that the chair be covered in tapestry.
40. Daix 1993, 167–8.
41. Quentin Laurens told McCully that Emile Délétang took several more photographs of her on the same day. Galerie Louise Leiris archives.
42. Letter from Olga to Picasso, March 14, 1918 (private archive), informing him that she will arrive by train from Madrid the following day.
43. PF.III. 1976.
44. Clive Bell commented in a letter to Mary Hutchinson, November 2, 1919, Ransom Center, that Olga loved furs and took “advantage of the cold to run hither and thither in her fine new furs.”
45. Although entitled Olga in an Armchair, she is seated on the armless slipper chair on which Picasso will often pose his models.
46. Letter from Picasso to Stein, April 26, 1918, Beinecke Library.
47. Letter from Stein to Picasso, May 9–10, 1918, Beinecke Library.
48. Z.III.160. See E. B. Henning, “Picasso: Harlequin with Violin (Si tu veux),” Bulletin of the Cleveland Museum of Art 63 (January 1976), 6–7.
49. See Vol. I, 274, 334.
50. The French Pierrot derives from the Italian Pulcinella, but is a more romantic, more moonstruck character, whose attributes are not at all Picasso-like.
51. Z.III.137.
52. See, for example, Z.III.128 and Z.III.134.
53. Letter from Cocteau to Picasso, March 18, 1918, Archives Picasso.
54. Marina Picasso Collection, 02287.
55. The glass is vertical in Zervos (Z.III.148); horizontal in Palau (PF.III.234).
56. Daix 1995, 779.
57. Z.III.96.
58. Galassi has pointed out that Le Nain’s Happy Family did not enter the Louvre’s collections until 1923. Picasso probably saw this work at one of the Paris dealers; see Susan Grace Galassi, Picasso’s Variations on the Masters: Confrontations with the Past (New York: Harry N. Abrams, 1996).
59. Z.I.285.
60. See Seckel-Klein, 152–5, 158–9.
61. D.-H. Kahnweiler, “Huit entretiens avec Picasso (16 Février 1935),” Le Point, October 1952, 26.
62. See Chapter 24, 534 (see Vol. II, 416).
63. Letter from Apollinaire to Picasso, March 30, 1918, Caizergues and Seckel, 164.
64. Letter from Apollinaire to Picasso, [August 22, 1918], ibid., 179–80.
65. Z.IV.322.
66. See Valentina Kachouba’s photograph album, reproduced in Yvan Nommick and Antonio Alvarez Cañibano, Los Ballets Russes de Diaghilev y España (Granada: Centro Cultural Manuel de Falla, 1989), 284.
67. James Lord, Some Remarkable Men (New York: Farrar, Straus and Giroux, 1996), 110. Lord attributes this accusation to Cocteau’s spite.
68. Z.III.153 and PF.III.244.
69. Letter from Cocteau to his mother, June 1918, Cocteau 1989, 380.
70. Letter from Cocteau to his mother, June 1918, Cocteau 1989, 380–1.
71. According to Michel Décaudin, the Opéra Comique proposed a posthumous production of this operetta. See Apollinaire 18: le “Casanova”d’Apollinaire “comédie parodique” (Paris: Lettres Modernes Minard, 1991), 130.
72. Steegmuller 1963, 267.
73. See Vol. II, 199–206.
74. Claude Debon, “Apollinaire in 1918,” in Apollinaire en 1918 (Paris: Méridiens Klinck-sieck, 1988), 21.
75. See Vol. II, 396. The photograph of Irène Lagut and Ruby Kolb should be redated 1916.
76. Ibid.
77. Letter from Apollinaire and Ruby (Jacqueline) to Picasso, March 22, 1917, Caizergues and Seckel, 150, 152 n. 18.
78. Pierre Marcel Adéma, Guillaume Apollinaire (Paris: La Table Ronde, 1968), 322.
79. Z.III.164. Letter from Apollinaire to Picasso, August 13, 1918, Caizergues and Seckel, 174.
80. Letter from Errázuriz to Picasso, June 18, 1918, Archives Picasso.
CHAPTER 7
Marriage
1. Caizergues and Seckel, 165 n. 1.
2. Seckel, 165, 43.
3. The clinic which Olga gave as her address on the marriage register was located in the seventh arrondisement, where the ceremony took place.
4. The marriage certificate is reproduced in Seckel, 159.
5. Gold and Fizdale, 195.
6. Letter from Cocteau to his mother, July 12, 1918, Cocteau 1989, 397–8.
7. Stassinopoulos-Huffington’s wedding-guest list—Matisse, Braque, Stein, Toklas—is guesswork. They were out of Paris or out of the country, as were Diaghilev and his company. Huffington, Picasso: Creator and Destroyer (New York: Simon and Schuster, 1988), 157.
8. Letter from Level to Picasso, June 13, 1918, Archives Picasso.
9. The poem appears in Caizergues and Seckel, 172.
10. Letter from Jacqueline Apollinaire to Olga, July 16, 1918, ibid., 204.
11. The draft of Picasso’s letter to Doctor Pas-calis, 3, rue de Dôme, appears in JSLC 64.
12. Steegmuller 1970, 200.
13. Z.III.228–30.
14. Letter from Picasso to Apollinaire, August 16, 1918, Caizergues and Seckel, 176.
15. Guillaume Apollinaire, Euvres poétiques, ed. Marcel Adéma and Michel Décaudin (Paris: Les Pléiades, 1965), 240.
16. Larralde and Casenave, 83.
17. Arthur Rubinstein, My Young Years (London: Jonathan Cape, 1973), 474.
18. Letter from Picasso to Apollinaire, August 16, 1918, Caizergues and Seckel, 176.
19. In his letter of August 30, 1918, Archives Picasso, Paul Guillaume explained to Picasso that “pour des raisons d’ordre militaire,” he was unable to go to Biarritz.
20. Z.III.242.
21. Picasso would do another portrait of Micheline in fall 1919 (Z.III.381).
22. FitzGerald 1995, 27.
23. Z.III.255.
24. Daix 1977, 162.
25. JSLC 66.
26. Ibid.
27. Postcard from Picasso to Apollinaire, August 3, 1918, Caizergues and Seckel, 173.
28. See, for example, PF.III.295.
29. Z.III.247–9.
30. Z.III.197.
31. PF.III.278.
32. Morand 1996, 236.
33. Letter from Cocteau to his mother, August 13, 1918, Cocteau 1989, 410.
34. Z.III.237.
35. Private collection, France.
36. Vol. II, 109 (Z.II.111).
37. Vol. II, 433 (Z.III.233).
38. Vol. II, 421.
39. Philadelphia Museum of Fine Art.
40. Z.XXIX.336.
41. Z.III.214.
42. Michael de Cossart, The Food of Love: Princesse Edmond de Polignac (1865-1943) (London: Hamish Hamilton, 1978), 132.
43. Letter from Diaghilev to Picasso, October 18, 1918, Archives Picasso.
44. Z.III.137 and Z.III.130.
45. Z.III.297.
46. See letter from Diaghilev to Picasso, October 18, 1918, Archives Picasso.
47. See letter from Jacqueline Apollinaire to Olga, August 22, 1918, Caizergues and Seckel, 205.
48. Letter from Olga to Jacqueline Apollinaire, September 2, 1918, ibid., 208.
49. See letter from Jacqueline Apollinaire to Olga, September 22, 1918, ibid., 210.
50. Telegram from Picasso to Apollinaire, September 28, 1918, Caizergues and Seckel, 184.
51. Undated letter from Picasso to Apollinaire, [1918], ibid., 192.
52. Z.III.550, Z.III.137, Z.III.257, ZIII.237, and Z.III.242.
CHAPTER 8
Death of Apollinaire
1. Stein 1938, 29.
2. Gimpel, 71 (November 14, 1918).
3. See last entry, October 16, 1918, in Apollinaire’s Journal intime (Paris: Editions du limon, 1991), 161.
4. This painting did not come to light until Palau published it (PF.III.335) and baptized it, Flour-covered Harlequin.
5. The painting is not dated or otherwise recorded, so this interpretation is hypothetical.
6. Z.III.437.
7. Cowling’s dating of these two paintings around the same time is based on her discovery (Cowling 2002, 377), in one of the preparatory photographs for the Olga portrait, of a corner of the Smith College painting upside down on the easel.
8. Ibid., 378.
9. Ambroise Vollard, Recollections of a Picture Dealer, trans. Violet M. Macdonald (London: Constable, 1936), 100.
10. Steegmuller 1968, 218.
11. See Pierre Caizergues and Michel Décaudin, Correspondance: Jean Cocteau Guil-laume Apollinaire (Paris: Jean-Michel Place, 1991), 44.
12. Otero, 82.
13. Penrose, 221.
14. Z.III.76. Jacqueline Picasso assured the author that this was the self-portrait done on the day of Apollinaire’s death.
15. Michel Décaudin, “Apollinaire et Picasso,” Esprit, January 1982, 82.
16. Vallentin, 146.
17. Arnaud, 199.
18. Ibid.
19. Letter from Cocteau to André Salmon, November 9 [midnight], 1918, Adéma, 342.
20. Letter from Jacob to René Fauchois, November 12, 1918, ibid., 343.
21. Recounted in Lagut.
22. Paul Léautaud, quoted in Steegmuller 1963, 275.
23. Adéma, 344, gives a partial list of those who attended.
24. See Vol. II, 199–205.
25. Ibid., 205.
26. Morand 1996, 266.
27. Lettriste; wordless letters.
28. Steegmuller 1963, 234.
29. Hugo 1983, 125.
30. Richard McDougall, The Very Rich Hours of Adrienne Monnier (New York: Scribner, 1976), 456.
31. Ibid.
32. Letter from Cocteau to Picasso, June 10, 1919, Archives Picasso.
CHAPTER 9
Rue la Boétie
1. FitzGerald 1995, 78.
2. Martin, 94.
3. Z.VI. 1331.
4. See, for example, Z.III.380.
5. Brassaï, 7.
6. Hugo 1983, 126.
7. Z.III.380. The self-portrait with a birdcage in front of a lace-curtained window, was incorrectly captioned in Vol. II, 399, “Montrouge, 1917.” It was executed at the rue la Boétie in 1919.
8. Z.III.289.
9. Z.III.438.
10. Otero, 77.
11. Z.IV.1335.
12. Gasman, 1192.
13. This partnership would end abruptly in 1932, when Rosenberg found out about his wife’s affair with Wildenstein. There would be no public scandal or divorce, only a division of the spoils and a subsequent lifelong mutual loathing. Although Rosenberg’s cousin, Jos Hessel, was originally a partner in this consortium, he soon ceased to play an active role in it.
14. FitzGerald 1995, 82–5.
15. Daniel Wildenstein and Yves Stavridès, Marchands d’art (Paris: Plon, 1999), 50.
16. The widow of Rosenberg’s son, Alexandre, Elaine Rosenberg to the author.
17. Dealers frequently offered artists contracts for their entire production over a given period, paying according to the point size of the canvases; see Vol II, 457 n.7 for details of standard canvas formats.
18. FitzGerald 1995, 64, 66.
19. Ibid., 282 n. 27.
20. In reply Cocteau said that he would “arrive in beautiful solitude, not in the slippers of a Rothschild, but in shoes that pinch—to escape … to other Ballets Russes.” FitzGerald 1995, 73.
21. See Vol. II, 359.
22. Gimpel, 107.
23. Concerning Guillaume’s wife, see Florence Trystram, La Dame au grand chapeau: T’Histoire vraie de T)omenica Walter-Guillaume (Paris: Flammarion, 1966).
24. Colette Giraudon, Vaul Guillaume et les peintres du XXe siècle de l’ art nègre à l’ avant-garde (Paris: Bibliothèque des Arts, 1993), 75.
25. Paul Rosenberg interviewed by Tériade (1927), Tériade, 106.
26. Grigoriev, 137.
27. Ibid., 139.
28. Ibid.
29. Pneumatique from Diaghilev to Picasso, April 15, 1919, Archives Picasso.
30. Letter from Diaghilev to Picasso, April 15, 1919, Archives Picasso.
31. Letter from Diaghilev to Falla, May 10, 1919, Pierpont Morgan Library, New York.
32. Cowling 2002, 360.
33. On a visit to Picasso’s widow, Jacqueline, at Notre-Dame-de-Vie, the author discovered several sketches annotated in Max Jacob’s handwriting on the studio floor. Surprised that these items had not been shipped to the Musée Picasso with the rest of the artist’s papers. After one look it became clear what they were. Picasso had hired the impecunious Jacob to do the costume research for Tricorne—probably in the Bibliothèque Nationale. Jacob’s drawings, which had evidently been copied from an encyclopedia of costume, specified such Andalusian types as a corregidor, a beggar, a watchman, a grandee, etc. The present whereabouts of these drawings is unknown.
34. Letter from Diaghilev to Picasso, May 12, 1919, Archives Picasso.
35. Telegram from Diaghilev to Picasso, May 15, 1919, Archives Picasso.
CHAPTER 10
London and Tricorne
1. See Arnold Haskell and Walter Nouvel, Diaghileff: His Artistic and Private Life (New York: Da Capo, 1978; originally published 1935), 282–3.
2. Ulrich Mosch, “Manuel de Falla: The Three-Cornered Hat, 1917–19,” in Boehm, Mosch, and Schmidt, 218.
3. García-Márquez, 112.
4. “Talk between Massine and Haskell,” Royal Academy of Dancing Gazette, 1947, 6.
5. Sokolova 1960, 140.
6. For a more technical discussion of these points, See André Levinson’s magesterial essay, “The Spirit of the Spanish Dance,” in Levinson, 49–55.
7. Sokolova 1960, 122.
8. Sokolova 1950, 25–6.
9. A dancer named Fernández is listed on the roster throughout the season. The company may have wanted to hush up the scandal.
10. Sokolova 1950, 27.
11. Karsavina, 190–1.
12. Sokolova 1960, 137.
13. Sokolova 1950, 29.
14. Sokolova 1960, 137.
15. García-Márquez, 145.
16. Z.XXIX.375.
17. Sokolova 1950, 30.
18. The County Archivist, Surrey County Council, confirmed to McCully that the “Long Grove Hospital, Epsom, lists Felix García and confirms his date of death as 18 March 1941, aged 44.”
19. García-Márquez, 321.
20. Ibid., 313.
21. Joan Acocella in conversation with the author.
22. On December 20, 1919 (Archives Picasso), Bell wrote to to Olga Picasso that he had sent her the scores of Boutique fantasque and Les Femmes de bonne humeur. Enrico Cecchetti still hoped that Olga would dance again, but in a letter to her six months later (June 24, 1920, Archives Picasso), he expressed regret that she had “given up again.”
23. Susan Scott has kindly checked the Savoy Hotel archives and confirmed that Diaghilev took two other rooms (old numbers 487–492/new numbers 430–431).
24. Letter from Paul Rosenberg to Picasso, June 10, 1919, Archives Picasso.
25. Monet had repeatedly stayed (1899–1905), sometimes as long as three months at a time, in one of the Savoy Hotel’s rooms (old room number 504) overlooking the river. From the vantage point of his balcony, Monet would paint views of Waterloo Bridge to the left and Charing Cross Bridge to the right. See Robert Gordon and Andrew Forge, Monet (New York: Abrams, 1983), 186.
26. Z.III.300.
27. Z.III.298–9, Z.III.414.
28. Vol. I, 402 (Z.I.352).
29. André Lhote, quoted in Nouvelle Revue Française, January 1920, reprinted in André Derain: Le Peintre du “trouble moderne” (Paris: Musée d’art moderne de la Ville de Paris, 1994), 236.
30. Letter from Roger Fry to Vanessa Bell, March 15, 1921, Sutton, 504.
31. Letter from Bell to Mary Hutchinson, July 11, 1919, Ransom Center.
32. They married in 1926.
33. Z.III.297.
34. Z.III.301.
35. Z.III.352–354.
36. Vladi
mir Polunin had met the English painter Violet Elizabeth Hart in St. Petersburg, where she was studying with Bakst. They married in 1908 and settled in London in 1914. Polunin worked as a scene painter for Sir Thomas Beecham. Chaliapin, for whom they painted sets, and who introduced them to Diaghilev.
37. Polunin, 53–4.
38. Under Picasso’s supervision, Polunin also repainted the set for Parade, which (according to Picasso) had been “hurriedly painted by someone in Paris [and] was so unsatisfactory that it required to be repainted before almost every performance.” Polunin, 59. The priming had been applied carelessly so that the colors peeled off. Polunin restored everything so satisfactorily that it never needed retouching. Parade was not given this season but had to be ready for its London premiere in the fall (1919).
39. Private collection.
40. Sacheverell Sitwell, Massine: Camera Studies by Gordon Anthony (London: Routledge, 1939), 20.
41. Musée Picasso, Paris.
42. The finest of these drawings (Z.III.308) is inscribed “London.” Apparently the central motif was not decided upon until Picasso was able to consult with Polunin, Diaghilev, and Massine.
43. PF.III.399.
44. PF.III.405.
45. PF.III.401.
46. See Rubin 1972, 104.
47. Palau 1999, 148.
48. See Nesta MacDonald’s text, “Picasso’s Curtain for Le Tricorne,” which originally appeared in the London Observer Colour Supplement (November 2, 1986). I am unable to agree with her identification of the figures in the curtain.
49. Polunin, 55.
50. Both Cooper, 51–2, and Grigoriev, 224, incorrectly date the sale of the Tricorne curtain as 1926.
51. Grigoriev, 224.
52. For further information on G. F. Reber, see Richardson 1999, 26–9.
53. What happened to the decorative borders after Diaghilev chopped them off is unknown.
54. Polunin, 53.
55. Horta is on the border of Catalonia and Aragon, hence Picasso’s comments on the margins of his designs for the villagers’ costumes that they were specifically Aragonese. Palau 1999, 150, chooses to see these costumes as a tribute to Goya, who was Aragonese.
56. See, for example, Sacheverell Sitwell in The Hunters and the Hunted (London: Macmil-lan, 1947), 108.
57. W. A. Propert, The Russian Ballet in “Western Europe (London: John Lane, 1921), 55.
58. Levinson, 65.
59. Letter from Diaghilev to Picasso, [June 1919], Archives Picasso.
A Life of Picasso Page 66