Picasso: A Biography. Patrick O’Brian

      PICASSO

      A Biography

      PATRICK O’BRIAN

      

       Copyright

      HaperCollinsPublishers 77–85 Fulham Palace Road, Hammersmith, London W6 8JB

       www.harpercollins.co.uk

      First published in Great Britain by William Collins Sons and Co Ltd 1976

      

      Copyright © Patrick O’Brian 1976

      

      Patrick O’Brian asserts the moral right to be identified as the author of this work

      

      A catalogue record for this book is available from the British Library

      

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      Source ISBN: 9780007173570

      Ebook Edition © APRIL 2012 ISBN: 9780007466382 Version: 2014-10-29

       Dedication

       Coadjutorici amoenissimae Mariae do dedico

      Contents

       Cover

       Title Page

      Copyright

       Dedication

      Preface

      Preface to Original Edition

      1

      2

      3

      4

      5

      6

      7

      8

      9

      10

      11

      12

      13

      14

      15

      16

      17

       18

       19

       20

       21

       22

       Keep Reading

       APPENDICES

       Index

       About the Author

       Also by the Author

       About the Publisher

       Preface

      SINCE this life of Picasso was written several other books have appeared, some on particular aspects of his work, some on the artist as a man; but none has raised such an outcry as Arianna Stassinopoulos Huffington’s Picasso, Creator and Destroyer (Weidenfeld and Nicolson 1988), nor has any been more strongly condemned since Françoise Gilot published her Life with Picasso in 1964.

      For my part I felt the general indignation very strongly and I had hoped that the timely re-issue of this book would allow me to utter a counterblast to Huffington in the form of a preface. I wrote one with some care, and Tom Phillips, who felt even more indignant if possible, very kindly said that I might use his much-admired review in The Independent, a strongly-worded criticism in which he, as a painter, dealt with some points far better than I could. Altogether it was, I thought, a good foreword, a thorough-going, heartfelt counterblast. But as a matter of routine my publishers showed it to their lawyer for a libel-report and to our astonishment he said it was actionable.

      It was actionable because I too had written a book on Picasso and therefore I could be looked upon as Huffington’s trade-rival, a rival actuated not by honestly-held beliefs but by sordid malice. If I had produced a book on white mice it would have been actionable if I had said that another book on white mice was ill-informed, ill-written and ill-natured. And in this case, believe it or not, it was also dangerous to quote from Tom Phillips’ review, thus giving it a more lasting form than it had in a newspaper.

      That, according to the company’s expert, is the state of the English law; and since Coke defines law as the perfection of reason, one can but bow with all the respect due to perfection, whatever shape it may assume.

      PATRICK O’BRIAN

       1989

       Preface to Original Edition

      THIS BOOK is an attempt at presenting Picasso whole, the man as well as his art; and its title is designed to emphasize the importance of those years of his life when he was Pablo Ruiz, his childhood in Málaga and La Coruña, and above all his adolescence in Barcelona. They shaped him forever; and since the enormous body of his work cannot be fully appreciated without a knowledge of its Spanish, and even more of its Catalan foundations, the early chapters go deep into his family background and his formative years, drawing on the immense collections of early works and documents that he presented to the Museo Picasso in Barcelona in 1970 and on many Catalan texts.

      Art-historians have sometimes divided Picasso the painter, sculptor, draughtsman, lithographer, engraver, and potter from Picasso the man, and for their purpose no doubt the method answers; other writers have spoken of Picasso as though he were only incidentally an artist, concentrating upon the man as he was to be seen away from his easel. The present book aims at striking the mean between these two extremes and at showing a man who, though wholly devoted to his art, spending the most significant and perhaps even the greatest part of his life in his studio, nevertheless lived