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By John Richardson

From 1950 to 1962, John Richardson lived close to Picasso in France and was once a pal of the artist. in an effort to writing a biography, the acclaimed artwork historian saved a diary in their conferences. After Picasso’s loss of life, his widow Jacqueline collaborated within the guidance of this paintings, giving Richardson entry to Picasso’s studio and papers. quantity one in all this awesome biography establishes the complexity of Picasso’s Spanish roots; his aversion to his local Malaga and his ardour for Barcelona and Catalan "modernisme". Richardson introduces new fabric at the artist’s early education in spiritual paintings; re-examines outdated legends to supply clean insights into the inventive disasters of Picasso’s father as an impetus to his sons’s triumphs; and contains graphics of Apollinaire, Max Jacob and Gertrude Stein, who made up "The Picasso Gang" in Paris through the "Blue" and "Rose" classes.

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Can concentrate. I won’t miss a single detail. . The little eye of the pigeon is round like an 0. Underneath the 0 a 6. Underneath that a 3- The eyes are like 2’s, and so are the wangs. The little feet rest on the table, as if on a horizontal line. . ” 29 In fact the mathematical test involved division rather than addition. Not that it matters, for once again the partly apocryphal story is interesting for the insights it provides into the artist’s labyrinthine mind rather than for 33 A LIFE OF PICASSO José Ruiz Blasco.

It is also reflected in his precocious taste for the theater, a taste that went into temporary eclipse when he moved to France and had difficulty following the dialogue. One drawing sug­ gests he was allowed backstage. At the Teatro Principal he saw the cele­ brated Andalusian actor Antonio Vico perform in Calderon’s play about peasant honor, El Alcalde de Alamea, and in romantic melodramas by the popular dramatist José Echegaray. At the same time Pablo and Lola attended dances for children at the Circulo de Artesanos.

This ob­ session would not end for another eighty years, and then with great éclat in one of his last masterpieces, The Black Torero (1970), inspired by a final visit to a corrida at Fréjus. These images look far ahead to periods of deep personal identification with both the bullfighter and the bull, not to speak of that vulnerable monster the minotaur. “Pablo is a bullfighter at heart,” Luis Miguel Dominguin would say. “The bulls are in his very soul,” Picasso’s friend Hélène Parmelin has written.

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