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Picasso, o estrangeiro
Retratando a vivência do célebre pintor espanhol enquanto estrangeiro sob vigilância constante da polícia francesa durante toda sua vida, Picasso, o estrangeiro, da historiadora Annie-Cohen Solal, apresenta uma nova e ousada visão da carreira do artista e da sua relação com o país que chamava de lar.
Antes de Picasso tornar-se Picasso – um artista icônico, hoje celebrado como uma das figuras mais emblemáticas da França –, ele era alvo de desconfiança da polícia francesa. Em meio às tensões políticas de 1901, foi tachado de anarquista pelas forças de segurança – a primeira de muitas anotações em uma extensa folha corrida. Apesar de ter despontado como líder da vanguarda cubista e enriquecido à medida que sua reputação se consolidava ao redor do mundo, as obras de Picasso foram, em sua maioria, excluídas das coleções públicas francesas pelas quatro décadas seguintes. O gênio que concebeu Guernica, em 1937, como uma declaração visceral contra o fascismo teve sua cidadania francesa negada três anos depois, às vésperas da ocupação nazista. No país onde a polícia e a conservadora Academia de Belas-Artes eram os dois pilares da sociedade da época, Picasso enfrentou um estigma era estrangeiro, artista de vanguarda e tinha opiniões políticas radicais.
Picasso, o estrangeiro aborda a carreira e as obras do artista de um ponto de vista completamente novo, aproveitando-se de fontes arquivísticas negligenciadas e fascinantes. Nesta narrativa inovadora, Picasso desponta como artista à frente de seu tempo não só estética, mas também politicamente, ignorando modas nacionais em favor de formas contemporâneas e cosmopolitas.
Annie Cohen-Solal revela como, em um período que envolveu a brutalidade da Primeira Guerra Mundial, a ocupação nazista e as rivalidades da Guerra Fria, o artista lutou para preservar sua independência, eventualmente deixando Paris de vez, em 1955. Ele escolheu o sul do país em vez do norte, o interior em vez da capital, e os artesãos em vez dos acadêmicos, enquanto simultaneamente atingia uma fama mundial.
Picasso nunca se tornou cidadão francês; apesar disso, foi responsável pelo enriquecimento e dinamização da cultura francesa como poucos na história do país. Esse livro, pela primeira vez, explica como ele fez isso.
“Intrigante e perspicaz... Annie Cohen-Solal captura uma faceta de um Picasso há muito esquecido.” – The Wall Street Journal
“Picasso, o estrangeiro, da historiadora francesa Annie Cohen-Solal, descarta as habituais bobagens sobre a boemia parisiense (adeus, absinto) e leva-nos, em vez disso, para norte da cidade, ao edifício dos arquivos da polícia francesa. Por meio de documentos administrativos, ela rastreia a xenofobia que seguiu Picasso em sua terra adotiva, onde a polícia o tachou de estrangeiro.” – The New York Times
"Annie Cohen-Solal defende fortemente a ideia de que a identidade expatriada de Picasso determinou em grande parte a trajetória de sua vida e obra... Uma grande e altamente pesquisada obra sobre história da arte." – Kirkus Review
Antes de Picasso tornar-se Picasso – um artista icônico, hoje celebrado como uma das figuras mais emblemáticas da França –, ele era alvo de desconfiança da polícia francesa. Em meio às tensões políticas de 1901, foi tachado de anarquista pelas forças de segurança – a primeira de muitas anotações em uma extensa folha corrida. Apesar de ter despontado como líder da vanguarda cubista e enriquecido à medida que sua reputação se consolidava ao redor do mundo, as obras de Picasso foram, em sua maioria, excluídas das coleções públicas francesas pelas quatro décadas seguintes. O gênio que concebeu Guernica, em 1937, como uma declaração visceral contra o fascismo teve sua cidadania francesa negada três anos depois, às vésperas da ocupação nazista. No país onde a polícia e a conservadora Academia de Belas-Artes eram os dois pilares da sociedade da época, Picasso enfrentou um estigma era estrangeiro, artista de vanguarda e tinha opiniões políticas radicais.
Picasso, o estrangeiro aborda a carreira e as obras do artista de um ponto de vista completamente novo, aproveitando-se de fontes arquivísticas negligenciadas e fascinantes. Nesta narrativa inovadora, Picasso desponta como artista à frente de seu tempo não só estética, mas também politicamente, ignorando modas nacionais em favor de formas contemporâneas e cosmopolitas.
Annie Cohen-Solal revela como, em um período que envolveu a brutalidade da Primeira Guerra Mundial, a ocupação nazista e as rivalidades da Guerra Fria, o artista lutou para preservar sua independência, eventualmente deixando Paris de vez, em 1955. Ele escolheu o sul do país em vez do norte, o interior em vez da capital, e os artesãos em vez dos acadêmicos, enquanto simultaneamente atingia uma fama mundial.
Picasso nunca se tornou cidadão francês; apesar disso, foi responsável pelo enriquecimento e dinamização da cultura francesa como poucos na história do país. Esse livro, pela primeira vez, explica como ele fez isso.
“Intrigante e perspicaz... Annie Cohen-Solal captura uma faceta de um Picasso há muito esquecido.” – The Wall Street Journal
“Picasso, o estrangeiro, da historiadora francesa Annie Cohen-Solal, descarta as habituais bobagens sobre a boemia parisiense (adeus, absinto) e leva-nos, em vez disso, para norte da cidade, ao edifício dos arquivos da polícia francesa. Por meio de documentos administrativos, ela rastreia a xenofobia que seguiu Picasso em sua terra adotiva, onde a polícia o tachou de estrangeiro.” – The New York Times
"Annie Cohen-Solal defende fortemente a ideia de que a identidade expatriada de Picasso determinou em grande parte a trajetória de sua vida e obra... Uma grande e altamente pesquisada obra sobre história da arte." – Kirkus Review
766 pages, Kindle Edition
First published April 21, 2021
49 people are currently reading
2330 people want to read
About the author
Annie Cohen-Solal
31 books32 followersAnnie Cohen-Solal is an academic and writer. For ever, she has been tracking down interactions between art, literature and society with an intercultural twist. After Sartre: A Life (1987) became an international success, she became French cultural counselor in the US, where she held her position from 1989 to 1992.
In New York, Cohen-Solal’s encounter with Leo Castelli led her to shift her interest to the art world. In the frame of a manyfold project which was to become a social history of the US artist, she published Painting American (2001); Leo Castelli & His Circle (2010); New York-Mid Century (2014), with Paul Goldberger and Robert Gottlieb; Mark Rothko (2013). In 2013, she became special advisor at the Ecole Normale Supérieure for the Nuit Sartre ; in 2014, general curator of Magiciens de la terre 2014 at the Centre Pompidou, publishing Magiciens de la terre : retour sur une exposition légendaire, with Jean-Hubert Martin. As a professor, she has held positions at Tisch School of the Arts (NYU), École des Hautes Études en Sciences Sociales, University of Caen, École Normale Supérieure in Paris, the Freie University of Berlin, and the Hebrew University of Jerusalem. She is working on curating exhibitions for the Rijks Museum in Amsterdam, the Musée Picasso and the Musée de l’Immigration in Paris. She will soon lead, alongside Jeremy Adelman, the “Crossing Boundaries” workshop at the CASBS (Stanford University). Born in Algiers, Annie now lives between Paris and Cortona.
(Taken from the bio of her official website)
In New York, Cohen-Solal’s encounter with Leo Castelli led her to shift her interest to the art world. In the frame of a manyfold project which was to become a social history of the US artist, she published Painting American (2001); Leo Castelli & His Circle (2010); New York-Mid Century (2014), with Paul Goldberger and Robert Gottlieb; Mark Rothko (2013). In 2013, she became special advisor at the Ecole Normale Supérieure for the Nuit Sartre ; in 2014, general curator of Magiciens de la terre 2014 at the Centre Pompidou, publishing Magiciens de la terre : retour sur une exposition légendaire, with Jean-Hubert Martin. As a professor, she has held positions at Tisch School of the Arts (NYU), École des Hautes Études en Sciences Sociales, University of Caen, École Normale Supérieure in Paris, the Freie University of Berlin, and the Hebrew University of Jerusalem. She is working on curating exhibitions for the Rijks Museum in Amsterdam, the Musée Picasso and the Musée de l’Immigration in Paris. She will soon lead, alongside Jeremy Adelman, the “Crossing Boundaries” workshop at the CASBS (Stanford University). Born in Algiers, Annie now lives between Paris and Cortona.
(Taken from the bio of her official website)
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Displaying 1 - 23 of 23 reviews
did-not-finish
September 18, 2023DNF at page 198.
If you’ve read extensively about the life and art of Picasso and want to come at it from a new scholarly angle, boy, is it your lucky day. Annie Cohen-Solal went digging and came up with all kinds of historical records that come together to tell the narrative of Picasso as suspicious foreigner (anarchist?? troublemaker??) in France. Included are detailed descriptions of the layouts of random buildings he spent time in, transcripts of every note he sent asking someone to pick up some paint for him, and so much more. You’ll also get to read about the author’s journey to find this stuff, which mostly boils down to “and then I went to this place in France and looked through their archives and found a paper that said this.” I guess if I did as much hands-on research as Ms. Cohen-Solal, I would want people to know about it, too.
If, however, you only know an average amount about the life of Picasso, and maybe aren’t as interested in the minute details of everyone in all his social circles, this may be difficult to get through. There’s a fascinating story here, but you’ll have to work for it. I understand that the book I wish this had been has likely already been written, and in order to say something new, the author had to take a different angle. She did well with what she set out to do. It just wasn’t for me.
If you’ve read extensively about the life and art of Picasso and want to come at it from a new scholarly angle, boy, is it your lucky day. Annie Cohen-Solal went digging and came up with all kinds of historical records that come together to tell the narrative of Picasso as suspicious foreigner (anarchist?? troublemaker??) in France. Included are detailed descriptions of the layouts of random buildings he spent time in, transcripts of every note he sent asking someone to pick up some paint for him, and so much more. You’ll also get to read about the author’s journey to find this stuff, which mostly boils down to “and then I went to this place in France and looked through their archives and found a paper that said this.” I guess if I did as much hands-on research as Ms. Cohen-Solal, I would want people to know about it, too.
If, however, you only know an average amount about the life of Picasso, and maybe aren’t as interested in the minute details of everyone in all his social circles, this may be difficult to get through. There’s a fascinating story here, but you’ll have to work for it. I understand that the book I wish this had been has likely already been written, and in order to say something new, the author had to take a different angle. She did well with what she set out to do. It just wasn’t for me.
April 8, 2023
While his art might not be universally appreciated, Pablo Picasso is most definitely a household name. In this biography, we will meet him as a fresh face arriving in Paris where his association with the Catalans of Montmarte will earn him a file with the local police. On the heels of the French Revolution, the police had an obsessive distrust of foreigners, always looking at them as potential anarchists. Neither this nor his struggle with the language or poverty or abominable living conditions stood in the way of Picasso’s goal to become the leader of the avant-garde. As if he had Francis Bacon’s words in mind, he made his own opportunities with hard work and dogged determination.
This book includes wonderful details about Picasso’s experiments, themes, and growth as an artist and expatriate. But the stories about his relationships are what I enjoyed most. One of my favorites is about his friendship with Braque. The book tells us that “No other modern art style has thus been the simultaneous invention of two artists in dialogue with each other.” More special, however, is what Cohen-Solol calls the constant in his life, the “epistolary pact” with his mother. She regularly scolds him for not writing her often enough or expresses fear for his safety. It lends a sweet, down-to-earth aspect to the man who took over the Paris avant-garde and still rules our minds when we think of cubism.
The amount of research that went into this book is staggering, and the result is a comprehensive and compelling read.
This book includes wonderful details about Picasso’s experiments, themes, and growth as an artist and expatriate. But the stories about his relationships are what I enjoyed most. One of my favorites is about his friendship with Braque. The book tells us that “No other modern art style has thus been the simultaneous invention of two artists in dialogue with each other.” More special, however, is what Cohen-Solol calls the constant in his life, the “epistolary pact” with his mother. She regularly scolds him for not writing her often enough or expresses fear for his safety. It lends a sweet, down-to-earth aspect to the man who took over the Paris avant-garde and still rules our minds when we think of cubism.
The amount of research that went into this book is staggering, and the result is a comprehensive and compelling read.
November 28, 2023
Niech wszyscy kochają Was tak, jak autorka kocha Picassa.
May 26, 2021
Magnífic. Han de venir historiadors de fora a dir-te la importància que va tenir Barcelona i Catalunya per a Picasso. Els castellans són més espanyols que el pal de la bandera i els catalans no sé on miren.
April 25, 2023
I decided to read Annie Cohen-Solal’s book “Picasso the Foreigner,” when I heard she would be presenting a discussion of it at Albertine in New York. I ordered the book in advance, thinking that I would read it before the discussion. Originally, I did wonder what anyone could possibly still say about Picasso that hasn’t already been said, but I thought the point of view of seeing Picasso, the ultimate insider, as an outsider, was intriguing. When the book showed up in my mailbox, I almost fainted: it’s 506 pages, with another 80 pages of back matter. It’s an absolute brick…not something easy to carry on one’s commute. But I bought it, and I committed to it. I only got through the first 200 pages by the time Cohen-Solal gave her presentation on it.
Who would ever imagine that the co-inventor of cubism, the mastermind behind the greatest anti war painting ever made (Guernica), the man from whom every major museum begged for a scrap of a drawing, was actually living for 40 years in France in abject fear of being deported, or worse? You know what else was thick as a brick? Picasso’s police records, which attest to the many years that he was under surveillance and considered an anarchist. Cohen-Solal follows Picasso through all of his years in France, and points out many examples of Picasso’s struggles as a foreigner in a country that historically never liked foreigners. After living for 40 years in France, his attempt to become a naturalized citizen of France was denied. This was after he became famous.
There are sections of the book that detract somewhat from the main thesis (that is, that Picasso was persona non grata in the country where he chose to spend the majority of his life). There are long sections devoted to Picasso dealers and his sales, his collectors and who had what artworks, much of which wasn’t quite necessary to the thesis. Picasso’s wives and children barely exist in the book, and are fully relegated to the background. Important cases where the police would have been definitely involved were not discussed (I’m thinking here of the theft of the Mona Lisa, wherein Picasso and Apollinaire were implicated). And dozens upon dozens of artworks are mentioned in the book but are not reproduced. But, even with those issues, the book is relevant for the emphasis it places on the struggles Picasso endured in France. It also sheds light on the reasons why, when Picasso was finally revered in France in the 1950s and beyond, he turned down the accolades offered to him, including the Chevalier of the Legion of Honor.
One does wonder why, given these issues, he stayed in France so long; mainly, we guess, it was because France was kilometer zero of the artworld for the entire first half of the twentieth century; it might have also been to escape his loving but clawing mother. After Francisco Franco’s rise to power, Picasso couldn’t return to Spain. He could have applied for French citizenship earlier too. It’s not explained or surmised as to why he didn’t, but we can guess that the wars that plagued most of Europe during the first four decades of the century made it difficult.
The book does set the record straight on Dora Maar, Picasso’s one companion who was truly his artistic equal, and Cohen-Solal convincingly gives Maar co-creative credit on Guernica. Suzanne Ramié is also well remembered as the lead potter at the Madoura pottery workshop where Picasso made his ceramic works in the 1940s. These revelations come in about two-thirds of the way into the book.
Overall I enjoyed the deep dive into the darker side of this mostly misunderstood figure. Unless you’re a fast reader (I am not) it will keep you busy for at least a month, and the position of the book is unique.
Who would ever imagine that the co-inventor of cubism, the mastermind behind the greatest anti war painting ever made (Guernica), the man from whom every major museum begged for a scrap of a drawing, was actually living for 40 years in France in abject fear of being deported, or worse? You know what else was thick as a brick? Picasso’s police records, which attest to the many years that he was under surveillance and considered an anarchist. Cohen-Solal follows Picasso through all of his years in France, and points out many examples of Picasso’s struggles as a foreigner in a country that historically never liked foreigners. After living for 40 years in France, his attempt to become a naturalized citizen of France was denied. This was after he became famous.
There are sections of the book that detract somewhat from the main thesis (that is, that Picasso was persona non grata in the country where he chose to spend the majority of his life). There are long sections devoted to Picasso dealers and his sales, his collectors and who had what artworks, much of which wasn’t quite necessary to the thesis. Picasso’s wives and children barely exist in the book, and are fully relegated to the background. Important cases where the police would have been definitely involved were not discussed (I’m thinking here of the theft of the Mona Lisa, wherein Picasso and Apollinaire were implicated). And dozens upon dozens of artworks are mentioned in the book but are not reproduced. But, even with those issues, the book is relevant for the emphasis it places on the struggles Picasso endured in France. It also sheds light on the reasons why, when Picasso was finally revered in France in the 1950s and beyond, he turned down the accolades offered to him, including the Chevalier of the Legion of Honor.
One does wonder why, given these issues, he stayed in France so long; mainly, we guess, it was because France was kilometer zero of the artworld for the entire first half of the twentieth century; it might have also been to escape his loving but clawing mother. After Francisco Franco’s rise to power, Picasso couldn’t return to Spain. He could have applied for French citizenship earlier too. It’s not explained or surmised as to why he didn’t, but we can guess that the wars that plagued most of Europe during the first four decades of the century made it difficult.
The book does set the record straight on Dora Maar, Picasso’s one companion who was truly his artistic equal, and Cohen-Solal convincingly gives Maar co-creative credit on Guernica. Suzanne Ramié is also well remembered as the lead potter at the Madoura pottery workshop where Picasso made his ceramic works in the 1940s. These revelations come in about two-thirds of the way into the book.
Overall I enjoyed the deep dive into the darker side of this mostly misunderstood figure. Unless you’re a fast reader (I am not) it will keep you busy for at least a month, and the position of the book is unique.
April 25, 2023
Meandering and a little repetitive, it’s an issues-driven biography that ends up shoehorning its premise— that Picasso was France’s perennial undesirable from 1901 to the mid sixties— a little too forcefully to be totally convincing. Get ready for maybe two dozen variations of: “Ah yes, let us now take the metro to the northern banlieues, in particular to the archive of the Paris inspector general, wherein, in a crumbling paper file, on a sweltering mid-September afternoon, we shall find the forgotten report of one M. inspector Chavallier, who describes the artist, in rambling, xenophobic prose, as ‘a known associate of anarchists.’”
That mild shortcoming aside, it’s a vivid evocation of place and time and the vast networks of people who either profited off Picasso (the Steins do not come across favorably in this one; and neither does Picasso in the way he hangs out to dry, Kahnweiler, his first great dealer…) or used him as xenophobic straw man (the entire French government for fifty years; also, who know Maurice de Vlaminck was such a bitter crank?).
The odd part? Five hundred pages and Picasso himself never totally comes through. We get him as a self-serving hoarder who refuses to throw out circus tickets that expired in the previous century. We get his embarrassing letters from Mom back in Barcelona (“hope you like the hideous furniture set we just sent you; please write more so I don’t die of neglect.”). We get him eating a chateaubriand in occupied Paris, then opportunistically joining the communists a few days before the fall of the Vichy government. We get him as an octogenarian lapping up Occitan crafts with voracity and maybe even sincerity? Much earlier in time, we get him in the Bateau-Lavoir, which is not the romantic place it’s sounded like in so many other descriptions of Montmartre— the author draws a convincing parallel to the tenements where all those African immigrants perished in fires in the summer of 2005–
it’s a freezing concatenation of sheds where, somehow, by miracle, he creates his “exorcism” painting/masterpiece Les Demoiselles… It’s this Picasso I like best. And I think he felt the same. Fifty years removed from the Bateau-Lavoir, he still kept an unopened bottle of absinthe he’d received from a mendicant priest who visited him one night to make sure he hadn’t frozen to death… You can keep the old lecher on the beach…
That mild shortcoming aside, it’s a vivid evocation of place and time and the vast networks of people who either profited off Picasso (the Steins do not come across favorably in this one; and neither does Picasso in the way he hangs out to dry, Kahnweiler, his first great dealer…) or used him as xenophobic straw man (the entire French government for fifty years; also, who know Maurice de Vlaminck was such a bitter crank?).
The odd part? Five hundred pages and Picasso himself never totally comes through. We get him as a self-serving hoarder who refuses to throw out circus tickets that expired in the previous century. We get his embarrassing letters from Mom back in Barcelona (“hope you like the hideous furniture set we just sent you; please write more so I don’t die of neglect.”). We get him eating a chateaubriand in occupied Paris, then opportunistically joining the communists a few days before the fall of the Vichy government. We get him as an octogenarian lapping up Occitan crafts with voracity and maybe even sincerity? Much earlier in time, we get him in the Bateau-Lavoir, which is not the romantic place it’s sounded like in so many other descriptions of Montmartre— the author draws a convincing parallel to the tenements where all those African immigrants perished in fires in the summer of 2005–
it’s a freezing concatenation of sheds where, somehow, by miracle, he creates his “exorcism” painting/masterpiece Les Demoiselles… It’s this Picasso I like best. And I think he felt the same. Fifty years removed from the Bateau-Lavoir, he still kept an unopened bottle of absinthe he’d received from a mendicant priest who visited him one night to make sure he hadn’t frozen to death… You can keep the old lecher on the beach…
July 14, 2021
Aucune exposition, aucune étude n’avait abordé l’angle qu’à choisi Annie Cohen-Solal pour comprendre l’homme Picasso au prise avec son statut d’artiste en France de 1900 à sa mort. Un étranger nommé Picasso est une enquête inédite, magistrale et extrêmement fouillée sur l’artiste et son œuvre, concernant aussi sa situation avec l’administration française.
Parce que Paris était la capitale des arts au début du XXè siècle, nombre d’artistes étrangers viennent en France pour participer au foisonnement créatif de l’époque. Picasso, enfant prodige, arrive à Paris à 19 ans, en 1900.
Comme tous migrants, à son arrivée à la gare d’Orsay, Picasso accompagné de Casagemas, son ami, rejoint la communauté des catalans exilés de Montmartre.
Ils y restent suffisamment de temps pour s’enivrer aux plaisirs de l’alcool et du sexe, en bref, s’exalter de tous les excès qu’offrent la capitale. Après quelques mois, ils rentrent à Barcelone. Casagemas revient seul à Paris en février 1901 pour revoir une jeune femme qu’il aime passionnément. Mais, il se suicide devant le refus de celle-ci.
Annie Cohen-Solal donne vie à son enquête en partageant ses recherches au fil de ses questions, de ses trouvailles et de ses intuitions auprès des différents lieux d’archives, par exemple celles du Musée Picasso de Paris, celles de la Préfecture de police, archives nationales, etc.
Dès 1901, Picasso fait l’objet d’une surveillance par des individus attachés à suivre les agissements du groupe anarchiste catalan (et notamment, l’obscur Manach, son premier marchand). Ils enquêtent pour le compte du commissariat de la police locale. Du coup, le commissaire André Rouquier conclut » …de ce qui précède, il résulte que Picasso partage les idées de son compatriote Manach qui lui donne asile. En conséquence, il y a lieu de le considérer comme anarchiste. « , même si rien de tangible n’est trouvé !
Finot, Foureur, Bornibus et Giroflé, ces pieds nickelés délateurs, réussissent à ouvrir sur l’artiste un dossier à la Préfecture de Police de Paris, dossier qui le suivra toute sa vie !
A partir du travail de recherche expliqué pas à pas, Annie Cohen-Solal apporte de nombreux détails concernant les réserves que ne cessent de mettre en place l’administration française pour considérer cet artiste précurseur comme un génie inégalé.
La suite ici
https://vagabondageautourdesoi.com/20...
Parce que Paris était la capitale des arts au début du XXè siècle, nombre d’artistes étrangers viennent en France pour participer au foisonnement créatif de l’époque. Picasso, enfant prodige, arrive à Paris à 19 ans, en 1900.
Comme tous migrants, à son arrivée à la gare d’Orsay, Picasso accompagné de Casagemas, son ami, rejoint la communauté des catalans exilés de Montmartre.
Ils y restent suffisamment de temps pour s’enivrer aux plaisirs de l’alcool et du sexe, en bref, s’exalter de tous les excès qu’offrent la capitale. Après quelques mois, ils rentrent à Barcelone. Casagemas revient seul à Paris en février 1901 pour revoir une jeune femme qu’il aime passionnément. Mais, il se suicide devant le refus de celle-ci.
Annie Cohen-Solal donne vie à son enquête en partageant ses recherches au fil de ses questions, de ses trouvailles et de ses intuitions auprès des différents lieux d’archives, par exemple celles du Musée Picasso de Paris, celles de la Préfecture de police, archives nationales, etc.
Dès 1901, Picasso fait l’objet d’une surveillance par des individus attachés à suivre les agissements du groupe anarchiste catalan (et notamment, l’obscur Manach, son premier marchand). Ils enquêtent pour le compte du commissariat de la police locale. Du coup, le commissaire André Rouquier conclut » …de ce qui précède, il résulte que Picasso partage les idées de son compatriote Manach qui lui donne asile. En conséquence, il y a lieu de le considérer comme anarchiste. « , même si rien de tangible n’est trouvé !
Finot, Foureur, Bornibus et Giroflé, ces pieds nickelés délateurs, réussissent à ouvrir sur l’artiste un dossier à la Préfecture de Police de Paris, dossier qui le suivra toute sa vie !
A partir du travail de recherche expliqué pas à pas, Annie Cohen-Solal apporte de nombreux détails concernant les réserves que ne cessent de mettre en place l’administration française pour considérer cet artiste précurseur comme un génie inégalé.
La suite ici
https://vagabondageautourdesoi.com/20...
November 14, 2023
Pabla Picassa nikomu przedstawiać nie trzeba. Niniejsza biografia tego hiszpańskiego artysty z iście kronikarską skrupulatnością przedstawia jego losy. Trzeba przyznać, iż liczba stron może początkowo przytłaczać, ale czytając, nie odczuwa się znużenia. Annie Cohen-Solal zajmująco opisała fakty z życia artysty, uwzględniając tło społeczno-polityczne, obyczajowe i kulturowe. Pokazała jego drogę do odnalezienia samego siebie, własnej tożsamości.
„Picasso…” to wspaniała książka, która nie zalewa nas suchymi faktami i teoriami, ale barwnie przedstawia życie artysty. Oczywiście wszystko to dzieje się w stosownej oprawie społeczno-kulturowej, która nie jest jedynie tłem, a jednym z wiodących elementów lektury. Sposób, w jaki autorka przedstawiła historię epoki, mocno wciąga, a im lepiej poznajemy życie artysty, tym łatwiej jest nam odnieść się do jego poczynań. Książki takie jak ta uświadamiają, jak złożonym bytem jest człowiek, ile czynników kształtuje jego życie.
Pozycja będzie prawdziwą ucztą duchową dla tych, którzy znają już z innych publikacji życie i twórczość malarza, którzy jego obrazy podziwiają.
„Picasso…” to wspaniała książka, która nie zalewa nas suchymi faktami i teoriami, ale barwnie przedstawia życie artysty. Oczywiście wszystko to dzieje się w stosownej oprawie społeczno-kulturowej, która nie jest jedynie tłem, a jednym z wiodących elementów lektury. Sposób, w jaki autorka przedstawiła historię epoki, mocno wciąga, a im lepiej poznajemy życie artysty, tym łatwiej jest nam odnieść się do jego poczynań. Książki takie jak ta uświadamiają, jak złożonym bytem jest człowiek, ile czynników kształtuje jego życie.
Pozycja będzie prawdziwą ucztą duchową dla tych, którzy znają już z innych publikacji życie i twórczość malarza, którzy jego obrazy podziwiają.
April 4, 2025
"Un étranger nommé Picasso" est un vrai livre d'Histoire de l'art. Il aborde la vie de Pablo Picasso par le biais d'archives policières et de correspondances collectées. Le contexte xénophobe de la France de la première moitié du XXe siècle est un sujet plus que central ici, on y aborde l'anarchisme espagnol, la surveillance des étrangers, la (non) naturalisation de l'artiste.
C'est grâce à tout un contexte politique et institutionnel français que sont présentées quelques œuvres et que l'on expose les nombreux personnages satellites du peintre : Daniel-Henry Kahnweiler, Manolo, Gertrude et Léo Stein, Enric Casanovas, André Level etc.
L'art est malgré tout au second plan, l'Histoire est privilégiée. C'est un vrai portrait de la France et de l'Europe des années 1900 à 1950 qui est dressé.
C'est un très gros livre, sérieux et extrêmement bien documenté avec plus d'une centaine de pages de notes de bas de page. Annie Cohen-Solal est très rigoureuse et a fait ici un excellent travail.
C'est grâce à tout un contexte politique et institutionnel français que sont présentées quelques œuvres et que l'on expose les nombreux personnages satellites du peintre : Daniel-Henry Kahnweiler, Manolo, Gertrude et Léo Stein, Enric Casanovas, André Level etc.
L'art est malgré tout au second plan, l'Histoire est privilégiée. C'est un vrai portrait de la France et de l'Europe des années 1900 à 1950 qui est dressé.
C'est un très gros livre, sérieux et extrêmement bien documenté avec plus d'une centaine de pages de notes de bas de page. Annie Cohen-Solal est très rigoureuse et a fait ici un excellent travail.
August 2, 2023
Very interesting, dense, and a thoughtful take on both Picasso’s life and how it intersected with the waves of xenophobia, nationalism, fascism, and communism during his career. It reads as well-done archival research by someone who intimately understands how art and society reflect and shape each other. Can be a bit dry at times, and it helps to have some background in the evolution of modern art (esp. cubism, realism) if you’re going to tackle this. But even if you’re just a history buff, it’s worth a read.
May 3, 2025
Good description of Picasso from the point of view of world wars, Vichy France, and general French xenophobia. Good description of his artistic development. It sheds light on his relationship with his mother, from snippets of letters she wrote to him. His relationships with women were less important in this book than his status as resident alien, guilt-ridden nagged son, starving artist who finds success, and cancelled Communist. Every Picasso biography seems to miss something; this one fills in the blanks on how he survived the wars.
February 16, 2024
I began reading this book with great enthusiasm, as Picasso as an artist and as a man has always fascinated me.
However, about half way through I realized that I am much less interested in the surveillance tactics he inspired in the Paris authorities. It felt like turning away from a butterfly to watch the idiot with a net trying to catch it.
Well written and researched, so I give it 3 stars.
However, about half way through I realized that I am much less interested in the surveillance tactics he inspired in the Paris authorities. It felt like turning away from a butterfly to watch the idiot with a net trying to catch it.
Well written and researched, so I give it 3 stars.
January 29, 2024
Very picky-cherring. Picasso was a genius and that so. Nothing about his personality, his relations with people (apart from his art dealers). Besides this is more an academic work with very complicated style, than a real biography for an average reader.
January 30, 2024
Trochę zbyt poszarpana fabuła, ciekawie się czyta jednak musiałam wraca do innych źródeł aby uchwycić cały obraz. Przeszkadzał mi brak ilustracji, szukałam ich w necie. Przypisy powinny być na dole strony, ale to raczej kwestia wydania niz samej ksiazki
May 7, 2024
I was expecting this book to be more about Picasso’s personal life during the world wars, but it was more so about the environment of society during his most active years as an artist. I wasn’t ready for this book to be so art history heavy so I don’t think I was in the best mindset to read it.
June 6, 2022
interesting anecdotes but the book has some many mistaken infos it is hard to figure out what to believe or trust....
July 5, 2023
Brilliant. Extraordinary research, and an important addition not only to the Picasso story but also a harsh light on French xenophobia. Great translation too!
Read
November 27, 2023DNF. Too dense for me to follow in the audiobook version.
Read
February 24, 2024DNF at page 98…
July 18, 2024
The Walter Isaacson of art criticism and biography
May 4, 2025
Excellent.
This does a great job of providing a new slant on Picasso's life.
This does a great job of providing a new slant on Picasso's life.
August 27, 2025
Mocno chaotyczna.
July 28, 2023
10 stars! I thought I knew a lot about Picasso but this was a revelation.
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