LIFE OF PICASSO III,A(ISBN=9780375711510) 下载 pdf 2025 网盘 epub 在线 mobi 免费

Now in paperback: the third volume of John Richardson’s

magisterial Life of Picasso.

Here is Picasso at the height of his powers in Rome and Naples,

producing the sets and costumes with Cocteau for Diaghilev’s

Ballets Russes, and visiting Pompei where the antique statuary fuel

his obsession with classicism; in Paris, creating some of his most

important sculpture and painting as part of a group that included

Braque, Apollinaire, Miró, and Breton; spending summers in the

South of France in the company of Gerald and Sara Murphy,

Hemingway, and Fitzgerald. These are the years of his marriage to

the Russian ballerina Olga Khokhlova—the mother of his only

legitimate child, Paulo—and of his passionate affair with

Marie-Thérèse Walter, who was, as well, his model and muse.

A groundbreaking contribution to our understanding of one of the

greatest artists of the twentieth century.

1.  Rome and the Ballets Russes (1917)

2.  Naples

3.  Parade

4.  The Ballet in Spain

5.  With Olga in Barcelona (Fall 1917)

6.  Return to Montrouge (Winter 1917-18)

7.  Marriage (Summer 1918)

8.  Death of Apollinaire (1918)

9.  RuelaBo4tie (1918-19)

10.  London and Tricorne (1919)

11.  Summer at Saint-Raphael (The Gueridon)

12.  Pulcinella (1919-20)

13.  Summer atJuan-les-Pins (1920)

14.  L'Epoque des Duchesses (1921)

15.  Summer at Fontainebleau

16.  BeauMonde (1921-22)

17.  Paris (1923)

18.  Summer at Cap d'Antibes

19.  Cocteau and Radiguet

20.  Mercure (1924)

21.  Still Lifes at La Vigie (Summer 1924)

22.  LaDanse(1925)

23.  The Villa Belle Rose (Summer 1925)

24.  Masterpiece Studio (1925-26)

25.  Summer at La Haie Blanche (1926)

26.  Marie-Th6rSse Walter (1927)

27.  Summer of Metamorphosis

28.  The Apollinaire Monument (1927-28)

29.  The Beach at Dinard (1928)

30.  The Sculptor (1928-29)

31.  Woman in the Garden (1929)

32.  The Bones of Vesalius (1929-30)

33.  Golgotha (1930)

34.  L'Affaire Picasso

35.  Chateau de Boisgeloup

36.  The Shadow of Ovid

37.  Annus Mirabilis I---The Sculpture (1931)

38.  Annus Mirabilis II--The Paintings (1931-1932)

39.  Paris and Zurich Retrospective (1932)

Epilogue

Short Titles

Notes

Index

John Richardson is the author of a memoir,

The Sorcerer’s Apprentice, and Sacred Monsters, Sacred

Masters, an essay collection; he also writes for The New

York Review of Books, The New Yorker, and Vanity Fair.

In 1995–96 he served as the Slade Professor of Fine Art at Oxford

University. He divides his time between Connecticut and New York

City.

暂无出版社相关信息，正在全力查找中！

Chapter 1: Rome and the Ballets Russes (1917)

Picasso's visit to Rome in February 1917 had

originally been conceived as a wedding trip, but at the last moment

his on-again off-again mistress, Irène Lagut, who had promised to

marry him, changed her mind, as her predecessor, Gaby Lespinasse,

had done the year before. Instead of Irène, Jean Cocteau

accompanied him. In a vain attempt to set himself at the head of

the avant-garde, this ambitious young poet had inveigled Picasso

into collaborating with him on

Parade:

a gimmicky,

quasi-modernist ballet about the efforts of a couple of shills to

lure the public into their vaudeville theater by tantalizing them

with samples of their acts. Cocteau had desperately wanted

Diaghilev to stage this ballet in Paris. The meddlesome Polish

hostess Misia Sert had tried to scupper the project. However,

Picasso's Chilean protector and patron, Eugenia Errázuriz, had

persuaded Diaghilev to agree, provided Picasso did the décor, Erik

Satie the score, and Léonide Massine the choreography. Sets,

costumes, and rehearsals were to be done in Rome, where Diaghilev

had his wartime headquarters. Picasso's cubist followers were

horrified that their avant-garde hero should desert them for

anything as frivolous and modish as the Ballets Russes, but he

ignored their complaints. After two and a half years of war, with

its appalling death toll, its hardships and shortages, and above

all the absence of his closest friends

—

particularly Braque

and Apollinaire at the front

—

Picasso was elated at the

prospect of leaving the bombardments and blackouts behind to spend

a couple of months in the relative peace of Rome, which he had

always wanted to visit. Besides working on Parade, he was

determined to get married.

Picasso and Cocteau arrived in Rome on February 19, 1917, a day

later than they had intended. Cocteau, who had forgotten to get a

visa from the Italian embassy, had lied when telling him that no

reservations were available. Diaghilev had booked them into the

Grand Hotel de Russie on the corner of the Via del Babuino and the

Piazza del Popolo. So that Picasso could work in peace on the

costumes and sets for

Parade

, he had also arranged for him

to have one of the coveted Patrizi studios, tucked away in a

sprawling, unkempt garden off the Via Margutta. Although most of

the artists are now gone, the Patrizi studios are still as idyllic

as they were in 1917.

"I cannot forget Picasso's studio in Rome," Cocteau later wrote. "A

small chest contained the maquette for

Parade

, with its

houses, trees and shack. It was there that Picasso did his designs

for the Chinese Conjurer, the Managers, the American Girl, the

Horse, which Anna de Noailles would compare to a laughing tree, and

the Acrobats in blue tights, which would remind Marcel Proust of

The

Dioscuri

."[1] From his window Picasso had a magnificent

view of the sixteenth-century Villa Medici, seat of the French

Academy, towering above the studio garden. As he well knew, the

Academy had associations with some of his favorite artists.

Velázquez had painted the garden; Ingres had spent four years there

as a fellow at the outset of his career and, later, six years as

director; Corot had also worked there and caught the golden light

of Rome and the

campagna

, as no other painter had

done.

"Rome seems made by [Corot]," Cocteau reported to his mother.

"Picasso talks of nothing else but this master, who touches us much

more than Italians hell bent on the grandiose!"[2] That Picasso

infinitely preferred the informality of Corot's radiant views to

the pomp and ceremony and baroque theatricality of so much Roman

painting is confirmed by his sun-filled pointillistic watercolors

of the Villa Medici's ochre fa?ade—as original as anything he did

in Rome.[3]

Diaghilev insisted that Picasso and Cocteau share his passion for

the city. Sightseeing was compulsory that very first evening. Since

there was no blackout as there was in Paris, they were able to see

the Colosseum all lit up—"that enormous reservoir of the

centuries," Cocteau said, "which one would like to see come alive,

crowded with people and wild beasts and peanut vendors."[4] The

following morning, Diaghilev picked them up in his car for another

grand tour. In the evening he took them to the circus. "Sad but

beautiful arena," Cocteau wrote his mother. "Misia Sert (or rather

her double) performed on the tight rope. Diaghilev slept until

woken with a start by an elephant putting its feet on his

knees."[5]

When he arrived in Rome, Picasso was still suffering from

chagrin d'amour

. Eager to find a replacement for Irène

Lagut, he had promptly fallen in love with one of Diaghilev's

Russian dancers, the twenty-five-year-old Olga Khokhlova. Although

he courted her assiduously and did a drawing of her, which he

signed with his name in Cyrillic, Olga proved adamantly chaste.

Chastity was a challenge that Picasso had seldom had to face. Both

Diaghilev and Bakst warned him that a respectable Russian woman

would not sacrifice her virginity unless assured of marriage.

"Une russe on l'épouse,"

Diaghilev said. Olga personified

this view. She was indeed respectable: the daughter of Stepan

Vasilievich Khokhlov, who was not a general, as she claimed, but a

colonel in the Corps of Engineers in charge of the railway

system.[6] Olga had three brothers and a younger sister. They lived

in St. Petersburg in a state-owned apartment on the Moika Canal.

Around 1910, the colonel had been sent to the Kars region to

oversee railroad construction, and the family had followed him

there. Olga stayed behind. Egged on by a school friend's sister,

Mathilda Konetskaya, who had joined the Diaghilev ballet after

graduating from the Imperial Ballet School, she decided to become a

dancer.

Olga had considerable talent. Despite starting late and studying

briefly at a St. Petersburg ballet school,[7] she managed to get

auditioned by Diaghilev. The Ballets Russes was having difficulty

prying dancers loose from the state-run theaters and was desperate

for recruits. A committee consisting of Nijinsky and the greatest

of classical ballet masters, Enrico Cecchetti, as well as

Diaghilev—a trio described by another dancer as more terrifying

than any first- night audience—put Olga through her paces and

accepted her. Intelligence and diligence compensated for lack of

experience. Nijinsky was sufficiently impressed to pick her out of

the corps de ballet.

Léonide Massine, who had taken Nijinsky's place in Diaghilev's

company as well as in his heart, had chosen Olga to play the role

of Dorotea in

Les Femmes de bonne humeur

, an adaptation of a

comedy by the eighteenth-century playwright Goldoni, with sets by

Léon Bakst and a heavily arranged score after Scarlatti. It was at

a rehearsal for this ballet, which would have its premiere in Rome

the following month, that Picasso spotted Olga and immediately set

about courting her. To familiarize himself with the techniques of

theatrical décor as well as watch his new love at work, he helped

Carlo Socrate (the scene painter who would work on

Parade

)

execute Bakst's scenery. So that he could join Olga backstage,

Picasso even helped the stagehands at the ballet's premiere.[8]

Eighteen months later he would marry her.

Compared to her predecessors—Bohemian models Picasso had lived with

in Montmartre or Montparnasse—Olga was very much a lady, not,

however, the noblewoman biographers have assumed her to be.[9] She

came from much the same professional class as Picasso's family. Don

José, Picasso's father, may have been a very unsuccessful painter,

but his brothers included a diplomat, a revered prelate, and a

successful doctor, who had married the daughter of a Malague?o

marquis. One of Picasso's mother's first cousins was a general—more

celebrated than Olga's parent, also the real thing. Indeed, it may

have been Olga's lack of blue blood that made her so anxious to

become a grande dame and bring up her son like a little prince.

Arthur Rubinstein, the pianist, who had met Olga in 1916 when the

ballet visited San Sebastián, remembered her as "a stupid Russian

who liked to brag about her father, who she pretended was a colonel

in the Tsar's own regiment. The other dancers assured me that he

was only a sergeant."[10] This was an exaggeration, but Olga's

pretensions were resented by other members of the company.

Ten years younger than Picasso, Olga had fine regular features,

dark reddish hair, green eyes, a small, lithe, dancer's body, and a

look of wistful, Slavic melancholy that accorded with the

romanticism of classic Russian ballet. Formal photographs reveal

Olga to have been a beauty—usually an unsmiling one—although in

early snapshots of her with Picasso and Cocteau in Rome, she is

actually grinning. Later, she plays up to him, dances for him,

takes on different personalities, which might explain the widely

varying reactions to her. The celebrated ballerina Alexandra

Danilova declared that Olga "was

nothing

—nice but nothing.

We couldn't discover what Picasso saw in her."[11] A Soviet ballet

historian, the late Genya Smakov, found references to her in an

unpublished memoir by someone working for Diaghilev, where she is

said to have been "neurotic."[12] On the other hand, Lydia

Lopokova—the most intelligent of Diaghilev's ballerinas—was Olga's

best friend in the company.

Picasso fell for Olga's vulnerability. He sensed the victim within.

She would have appealed to his possessiveness and protectiveness

especially when the Russian Revolution cut her off from her family.

Her vulnerability would likewise have appealed to Picasso's

sadistic side. (The women in his life were expected to read the

Marquis de Sade.) In the past year rejection by the two women he

had hoped to marry had left him exceedingly vulnerable. Pica...

在线阅读地址：LIFE OF PICASSO III,A(ISBN=9780375711510)在线阅读

在线听书地址：LIFE OF PICASSO III,A(ISBN=9780375711510)在线收听

在线购买地址：LIFE OF PICASSO III,A(ISBN=9780375711510)在线购买

面对谜题时，我有一股不服输的死劲。这是为什么后来我会想把玛雅象形文字翻译成现代文字或者是碰到保险箱就想办法打开它。记得在高中时，每天早上总有人拿些几何或高等数学的题目来考我，而我是不解开那些谜题便不罢休。通常我都要花上一二十分钟才找出答案；然后在同一天内其他人也会问我同样的问题，那时我却可以不加思索便告诉他们答案。因此我在替第一个人解题时花掉分钟，可是同时却有5个人以为我是超级天才！

中学时代还有一个叫做“代数队”的团体，队上有5名学生，经常跟别的学校比赛。比赛方式是大家一字排开，坐在两排椅子上，主持比赛的老师抽出装着题目的信封，信封上面写着“45秒”等等。她打开信封，把题目抄到黑板上，说：“开始！”因此实际上我们可以用来解题的时间多过45秒，因为她一边写你便可以一边想答案了。比赛规则是：每个人面前都有纸和笔，你怎么写都可以，重要的是答案。假如答案是“6本书”， 那么你要在纸上写上“6”，把它圈起来。 只要圆圈内写的是正确的，你便赢了。

　　可以肯定的是，那些题目都不是用传统套公式的方法便可以解出答案的，你不能“设A为红色书本数、B为蓝色书本数”，套入公式，解、解、解，直到你得到“6本书”

　　这个答案。那样做至少要50秒，因为出题目的人早就试算过，再把时限缩短那么一点点。你必须想：“可不可能单用‘看’便找到答案？”有些时候真的一眼便看出来答案是多少，有时却必须发明一些新方法，然后拼命计算，找出答案。这是绝佳的训练，我也愈来愈精于此道，最后还当上队长。学会如何快速解代数，对我往后念大学时甚有助益。例如当我们碰到微积分的题目时，我便很快看出题目的方向，而且很快地把答案算出来——真的很快。

“曲线尺的特色就是不管你怎么转动，每条曲线最低点的切线一定都是水平线。”

　　于是班上所有同学都拿起曲线尺，依着不同角度转动，手上拿着铅笔，沿着曲线最低点...

“噢，”他说：“2．5的对数是……。对数的三分之一是1.3的对数，即……，以及1．4的对数，即多少多少之间，我就用内插法把它求出来。”

　　于是我发现：第一，他能背对数表；第二，如果我像他那样用内插法的话，所花的时间绝对要比伸手拿表和按计算机的时间长得多。我佩服得五体投地。

　　从此以后，我也试着这样做。我背熟了几个数字的对数值，也开始注意很多事情。比方有人说，“28的平方是多少？”那么注意2的平方根是1．4，而28是1．4的20倍，因此28的平方一定接近400的两倍，即800上下。

　　如果有人要知道1．73除1是多少，你可以立刻告诉他答案是0．577，因为1．73差不多等于3的平方根，故此1/1.73就差不多等于3的平方根再除以3，而如果要计算1/1.75呢，它刚好是4/7，你知道1/7那有名的循环小数，于是得到0．571428……跟贝特一起应用各种诀窍做快速心算，真是好玩极了。

　　通常我想到的，他都想到，我很少能算得比他快。而如果我算出一题的话，他就开怀大笑起来。无论什么题目，他总是能算出来，误差差不多都在1%以内。对他而言，这简直是轻而易举——任何数字总是接近一些他早已熟悉的数字。

这是我的作风：除非我脑袋里能出现一个具体的例子，然后根据这个特例来演算下去，否则我无法理解他们说的东西。所以很多人一开始时会觉得我反应有点慢，不了解问题所在，因为我问一大堆笨问题，像“阴极是正的还是负的？阴离子是这样的还是那样的？”

　　但是过了一会儿，当那些家伙写下一大堆方程式，停下来解释一些东西时，我会说：“等一下！这里有个错误！

　　这不可能是正确的！”

　　那家伙瞪着他的方程式，果然，过了一会儿，他发现了错误，然后开始搞不懂这个开始时几乎什么都不知道的家伙，怎么有办法在这堆杂乱无章的方程式中找出错误？

　　他以为我是一步步地跟着他演算，其实不然。我脑中想...

冯诺曼教会了我一个很有趣的想法：你不需要为身处的世界负任何责任。因此我就形成了强烈的“社会不负责任感”，从此成为一个快活逍遥的人。

只要你有绝对的自信，只管装下去，绝对不会出什么问题

看看世界其他地方长的怎么样。学习不同的事物，是很值得的。

你不需要为身处的世界负任何责任。

你完全没有责任要做到其他人觉得你应该做到的地步。我没有责任要符合他们的期望，这是他们的错，可不是我失败了。

如果你觉得这样比较好，不要管他们！

一个人年轻的时候，你有很多事情要担心：要不要到这个地方，你的母亲又会怎样等等。你担心、做决定，但又发生了其他的事情。事实上，比较容易的作法是什么都不管，就那样决定。不用管那么多——再没什么能使你改变主意了

你应该做的是想象自己重新在当学生，把这篇论文带到楼上去，逐字逐句地读，检查每一条方程式。然后你就什么都弄懂了。

这真是令人失望。这些人的人生才刚开始，但他们的生命却都用在诠释犹太法典。想想看，在今天的年代，大家学习的目的是加入社会，做些事情——就算是作个犹太牧师。但令他们对科学产生兴趣的唯一原因，却只不过是由于那些古老、狭窄、从中古时代遗留下来的问题，在面对新现象时碰到其他问题，就这样而已！

暂无其它内容！