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Pablo Picasso

· Correspondence Pablo Picasso and Gertrude Stein · Jean Cocteau: The Difficulty of Being · Hugo Ball: From Cabaret Voltaire – Issue 1 · Vincent Berquez: Picasso’s bicycle · Gemeentemuseum Den Haag: Cézanne – Picasso – Mondriaan

Correspondence Pablo Picasso and Gertrude Stein

Pablo Picasso and Gertrude Stein. Few can be said to have had as broad an impact on European art in the twentieth century as these two cultural giants.

Pablo Picasso, a pioneering visual artist, created a prolific and widely influential body of work.

Gertrude Stein, an intellectual tastemaker, hosted the leading salon for artists and writers between the wars in her Paris apartment, welcoming Henri Matisse, Ernest Hemingway, and Ezra Pound to weekly events at her home to discuss art and literature.

It comes as no surprise, then, that Picasso and Stein were fast friends and frequent confidantes. Through Picasso and Stein’s casual notes and reflective letters, this volume of correspondence between the two captures Paris both in the golden age of the early twentieth century and in one of its darkest hours, the Nazi occupation through mentions of dinner parties, lovers, work, and the crises of the two world wars. Illustrated with photographs and postcards, as well as drawings and paintings by Picasso, this collection captures an exhilarating period in European culture through the minds of two artistic greats.

Pablo Picasso and Gertrude Stein
Paper $27.50
ISBN: 9780857425850
Published September 2018
Cloth $29.95
ISBN: 9781905422913
Published November 2008
Distributed for Seagull Books
Edited by Laurence Madeline.
Translated by Lorna Scott Fox.
390 pages
Biography and Letters

new books
Pablo Picasso and Gertrude Stein magazine

More in: - Book News, - Bookstores, Archive O-P, Archive S-T, Art & Literature News, Gertrude Stein, Pablo Picasso, Stein, Gertrude

Jean Cocteau: The Difficulty of Being

Reflections on life and art from the legendary filmmaker-novelist-poet-genius.

By the time he published The Difficulty of Being in 1947, Jean Cocteau had produced some of the most respected films and literature of the twentieth century, and had worked with the foremost artists of his time, including Proust, Gide, Picasso and Stravinsky.

This memoir tells the inside account of those achievements and of his glittering social circle. Cocteau writes about his childhood, about his development as an artist, and the peculiarity of the artist’s life, about his dreams, friendships, pain, and laughter. He probes his motivations and explains his philosophies, giving intimate details in soaring prose. And sprinkled throughout are anecdotes about the elite and historic people he associated with.

Beyond illuminating a truly remarkable life, The Difficulty of Being is an inspiring homage to the belief that art matters.

Jean Cocteau (1889-1963) was a novelist, poet, filmmaker, artist and playwright. Born in a village just outside of Paris, he left home at fifteen and published his first volume of poetry, Aladdin’s Lamp, at nineteen. He circulated in the highest ranks of bohemian Paris, and counted Picasso and Proust among his close friends. His most famous works include the novel Les Enfants terribles and the films Beauty and the Beast and Orpheus. He was openly gay and at one time an opium addict. He died of a heart attack after being informed of the death of his friend, the singer Edith Piaf.

The Neversink Library champions books from around the world that have been overlooked, under appreciated, looked askance at, or foolishly ignored.

The Difficulty of Being
BY Jean Cocteau
Introduction by Geoffrey O’Brien
Translated by Elizabeth Sprigge
Publisher: Melville House
Reflections on life and art from the legendary filmmaker-novelist-poet-genius.
Part of The Neversink Library

“One of the master craftsmen.” – Tennessee Williams

  #  more  on  website  of  The  Neversink  Library magazine

More in: - Book News, - Book Stories, Archive C-D, Archive C-D, Art & Literature News, AUDIO, CINEMA, RADIO & TV, Jean Cocteau, Pablo Picasso, THEATRE

Hugo Ball: From Cabaret Voltaire – Issue 1

When I founded the Cabaret Voltaire, I was sure that there must be a few young people in Switzerland who like me were interested not only in enjoying their independence but also in giving proof of it.

I went to Herr Ephraim, the owner of the Meierei, and said, “Herr Ephraim, please let me have your room. I want to start a night-club.” Herr Ephraim agreed and gave me the room. And I went to some people I knew and said, “Please give me a picture, or a drawing, or an engraving. I should like to put on an exhibition in my night-club.” I went to the friendly Zürich press and said, “Put in some announcements. There is going to be an international cabaret. We shall do great things.” And they gave me pictures and they put in my annoucements. So on 5th February we had a cabaret. Mademoiselle Hennings and Mademoiselle Leconte sang French and Danish chansons. Herr Tristan Tzara recited Rumanian poetry. A balalaika orchestra played delightful folk-songs and dances.

I received much support and encouragement from Herr M. Slodki, who designed the poster, and from Herr Hans Arp, who supplied some Picassos, as well as works of his own, and obtained for me pictures by his friends O. van Rees and Artur Segall. Much support also from Messrs. Tristan Tzara, Marcel Janco and Max Oppenheimer, who readily agreed to take part in the cabaret.

We organized a Russian evening and, a little later, a French one (works by Apollinaire, Max Jacob, André Salmon, A. Jarry, Laforgue and Rimbaud). On 26th February Richard Huelsenbeck arrived from Berlin and on 30th March we performed some stupendous Negro music (toujours avec la grosse caisse: boum boum boum boum – drabatja mo gere drabatja mo bonooooooooo -). Monsieur Laban was present at the performance and was very enthusiastic. Herr Tristan Tzara was the initiator of a performance by Messrs. Tzara, Huelsenbeck and Janco (the first in Zürich and in the world) of simultaneist verse by Messrs. Henri Barzun and Fernand Divoire, as well as a poème simultané of his own composition, which is reproduced on pages six and seven.

The persent booklet is published by us with the support of our friends in France, Italy and Russia. It is intended to present to the Public the activities and interests of the Cabaret Voltaire, which has as its sole purpose to draw attention, across the barriers of war and nationalism, to the few independent spirits who live for other ideals. The next objective of the artists who are assembled here is the publication of a revue internationale. La revue paraîtra à Zurich et portera le nom “Dada” (“Dada”). Dada Dada Dada Dada.

Zürich, 15th May 1916

Hugo Ball
From Cabaret Voltaire – Issue 1 magazine

More in: Archive A-B, Archive A-B, Ball, Hugo, Dada, DADA, Dadaïsme, LITERARY MAGAZINES, Pablo Picasso

Vincent Berquez: Picasso’s bicycle

Picasso’s bicycle

The clutter was busy with itself,
dusty, rusty bits of calloused iron
struggled in the dinosaur maxim
of becoming dead skeletons
at the end of a so-so utilitarian life.

The effeminate ballroom
was not far behind, peeling
paint and whimpering plaster
on stained alabaster flooring,
the dream of luxury expiring.

The ghost of a danced waltz
in a Fin de Siècle stench spewed
to the vibration of tuneless strings.
Cobweb filled champagne bottles
sipped by drunk working class guests,
parched their sandy mouths thirsty.

The dirt filled the building slowly
travelling illegally on the back
of the Sirocco from the Levant
to leave an arid skin on every surface.

The walls bleached and blistered,
the fascias cracked and crumbled,
the Republic surrendered easily
to the upstart Spaniard’s charms
and chivvied slices of glory for him
in the ruined hypocrisy of its noblesse.

His work attested to a fall in standards
in slices of past glory, all ideas stolen
by the old devil’s goat-like desires.

The scrapyard sniggered in contempt
at the old fool, and the camera stared.


Vincent Berquez


Vincent Berquez is a London–based artist and poet magazine

More in: Archive A-B, Berquez, Vincent, Pablo Picasso, Vincent Berquez

Gemeentemuseum Den Haag: Cézanne – Picasso – Mondriaan

Paul Cézanne (1839-1906), La Montagne Sainte-Victoire, 1888, olieverf op doek, 83 x 72 cm,

collectie Stedelijk Museum Amsterdam, verworven met steun van de VVHK


Cézanne – Picasso – Mondriaan

In nieuw perspectief

17 oktober 2009 t/m 24 januari 2010

Cézanne is de ‘vader van de moderne kunst’. Hij werd, hoe ironisch ook, vaak geweigerd op de Parijse salons, maar geldt nu als een van de belangrijkste kunstenaars van zijn periode. Picasso en Mondriaan zijn in zijn voetsporen getreden en gedrieën zijn zij verantwoordelijk voor misschien wel de meest beslissende ontwikkeling in de kunstgeschiedenis: het ontstaan van de abstracte kunst. Deze drie revolutionaire meesters zijn in het najaar van 2009 onderwerp van een grootse, internationale tentoonstelling in het Gemeentemuseum Den Haag. Hier wordt op spectaculaire wijze duidelijk gemaakt hoe de schilderkunst rond 1900 in een stroomversnelling raakte. Het resultaat is een boeiend verhaal waarin de toeschouwer wordt meegenomen van de zinnelijke en kleurrijke doeken van Cézanne via de felgekleurde – soms humoristische – werken van Picasso naar de uiterst subtiele schilderkunst van Mondriaan.

Geen andere laat-negentiende eeuwse kunstenaar had zoveel en zo’n blijvende invloed op zijn opvolgers als Paul Cézanne: met zijn subtiele kleurgevoel en zijn gedurfde composities brak hij een lans voor de generaties na hem. Voor het eerst sinds een halve eeuw is er weer werk van de Franse meester in ons land te zien, waaronder de wereldberoemde, sensuele Baadsters en de landschappen met de Mont Sainte-Victoire, bij het kleine dorpje Vauvenargues in de Franse Provence, als middelpunt.

Vanaf zijn komst naar Parijs, toen hij nauwelijks twintig jaar was, had Pablo Picasso tot aan het eind van zijn leven een grote bewondering voor Cézanne. Hij beschouwde zichzelf graag als diens (artistieke) zoon. Hij wilde zo graag in de voetsporen treden van zijn grote inspiratiebron, dat hij jaren later het kasteel, Château de Vauvenargues, betrok aan de voet van de Mont Sainte-Victoire. Het ging hem hierbij niet zozeer om een kunstzinnige navolging, maar echt om de fysieke plek waar Cézanne zijn werk had vervaardigd. Later, na zijn dood in 1973, zou Picasso er ook begraven worden.

Mondriaan was, vrijwel tegelijk met Picasso, ook bezig met zijn zoektocht naar het ideale kunstwerk. Hoewel hij uit de Nederlandse traditie komt waarin de Haagse School hoogtij vierde, had hij van jongs af aan veel interesse in de internationale schilderkunst. Zo haalde hij zijn opvatting van Kubisme in eerste instantie uit de krant. Een tentoonstelling over het kubisme in het Stedelijk Museum opende hem in 1911 definitief de ogen. Daar zag hij pas wat kubisme écht inhield en ontdekte hij de lijn die door Cézanne was ingezet en door Picasso werd doorgetrokken. Mondriaan besloot naar Parijs te gaan om de ontwikkelingen in de kunst met eigen ogen te zien. Van daaruit kwam hij een stap dichterbij de essentie van kleur en vorm. Het is voor het eerst dat de relatie van Mondriaan tot Picasso en Cézanne zo uitvoerig tegen het licht wordt gehouden.

Deze najaarstentoonstelling van het Gemeentemuseum geeft een uniek inzicht in de ontwikkeling van de moderne Westerse kunst waarin deze drie meesters ieder hun eigen baanbrekende rol hebben gespeeld. Met bijzondere bruiklenen van over de hele wereld, uit Washington (The National Gallery of Art), New York (The Metropolitan Museum of Modern Art) en Parijs (Centre Georges Pompidou) is deze tentoonstelling van grote kwaliteit.

Bij de tentoonstelling verschijnt een Nederlandstalige, rijk geïllustreerde catalogus met bijdragen van Hans Janssen, Franz-W. Kaiser, Brigitte Leal, Sylvie Patin, Anne Roquebert en Benno Tempel

Website Gemeentemuseum Den Haag magazine

More in: FDM Art Gallery, Pablo Picasso, Piet Mondriaan

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