0:00:02 > 0:00:05IN FRENCH:
0:00:13 > 0:00:17At the time of his death in April, 1973, aged 91,
0:00:17 > 0:00:19Pablo Picasso had become
0:00:19 > 0:00:23one of the 20th century's most influential and prolific artists.
0:00:27 > 0:00:29Picasso has been painted as many men -
0:00:29 > 0:00:33as a genius, a womaniser, an egomaniac.
0:00:36 > 0:00:40Brought up in the Spanish town of Malaga, his first paintings,
0:00:40 > 0:00:42as a nine-year-old, were of bullfighting scenes.
0:00:42 > 0:00:47Later, he would represent himself as the mythological Minotaur,
0:00:47 > 0:00:49half man, half bull.
0:00:51 > 0:00:55The bull craved women, who would feed his life and his art.
0:00:57 > 0:00:59Their encounters produced
0:00:59 > 0:01:02the 20th century's most extraordinary portraits,
0:01:02 > 0:01:05as Picasso reconstructed the female form
0:01:05 > 0:01:07to the point of total abstraction.
0:01:09 > 0:01:12Many of these women would find themselves damaged forever.
0:01:13 > 0:01:17For the first time, the people who knew him best tell the story
0:01:17 > 0:01:20of those women, to give a new insight
0:01:20 > 0:01:22into the artist and his work.
0:01:36 > 0:01:41The first time I met Picasso, I was struck by the enormous power
0:01:41 > 0:01:44that seemed to emanate from this very small man.
0:01:44 > 0:01:49What struck me, particularly, was this Spanish concept,
0:01:49 > 0:01:53from the south of Spain, "mirada fuerte" - the strong gaze.
0:01:53 > 0:01:57People in Andalusia feel that they can have a woman with their eyes.
0:01:57 > 0:01:59It's like an extra human...
0:02:01 > 0:02:02..like a limb.
0:02:02 > 0:02:04And Picasso seemed to have that.
0:02:04 > 0:02:07One felt that the eyes were enormously powerful.
0:02:09 > 0:02:12More than any other 20th-century artist,
0:02:12 > 0:02:15Picasso's art was drawn from his relationships.
0:02:17 > 0:02:21He always avoided publicly linking his women with his art,
0:02:21 > 0:02:24but through his paintings, etchings and sculptures,
0:02:24 > 0:02:26every life he touched becomes visible.
0:02:28 > 0:02:31He was an artist with an astonishing diversity of styles,
0:02:31 > 0:02:34often inspired by the women he was with.
0:02:34 > 0:02:39When the women in Picasso's life changes, everything else changes.
0:02:41 > 0:02:43The poet changes.
0:02:43 > 0:02:47The circle of friends change, the house changes.
0:02:47 > 0:02:52Everything changes with the mistress. And I watched this happen.
0:02:52 > 0:02:55And that was totally fascinating.
0:02:56 > 0:02:58IN FRENCH:
0:02:58 > 0:03:02Picasso always defined clear periods, like patterns, in his work.
0:03:02 > 0:03:06It was as if this was his way of mapping out his life
0:03:06 > 0:03:07and his creativity.
0:03:07 > 0:03:12Many of Picasso's works are depictions of the women he loved.
0:03:14 > 0:03:16Some of the titles are clear.
0:03:16 > 0:03:20Portrait of Olga In An Armchair, portrait of Dora Maar.
0:03:21 > 0:03:24Jacqueline With Crossed Hands.
0:03:24 > 0:03:27But some are more mysterious.
0:03:27 > 0:03:30Study For Women's Head. The Dream.
0:03:32 > 0:03:33Woman With Yellow Necklace.
0:03:34 > 0:03:36IN FRENCH:
0:03:36 > 0:03:39In each period, in fact, with each different woman,
0:03:39 > 0:03:43he had a, sort of, leitmotif, like in Wagner.
0:03:43 > 0:03:45You can hear it in his work,
0:03:45 > 0:03:47the leitmotif that introduces each character.
0:03:47 > 0:03:49In Picasso, you can see it.
0:03:49 > 0:03:53So, my own leitmotif was always the blue and green.
0:03:55 > 0:03:57If you asked Picasso questions about his work,
0:03:57 > 0:04:01he would very often dismiss them and he wasn't interested.
0:04:01 > 0:04:05But with me, we'd go through a catalogue or something
0:04:05 > 0:04:08and he'd start telling me who, in fact, these portraits were of.
0:04:08 > 0:04:10I mean, that is not Dora.
0:04:10 > 0:04:13That's partly Dora, but there's a little bit of Francoise there
0:04:13 > 0:04:17and then, some of these paintings, there are four women in one thing.
0:04:17 > 0:04:19There is Dora, there is Nusch Eluard.
0:04:19 > 0:04:23There's Roland Penrose's wife, the photographer, and Ines,
0:04:23 > 0:04:26the maid at the local hotel.
0:04:26 > 0:04:27And they were all there.
0:04:34 > 0:04:39Pablo Picasso was born in Malaga in 1881.
0:04:39 > 0:04:42At first, it was thought he was stillborn.
0:04:42 > 0:04:45He would always tell the story of how, when he was born,
0:04:45 > 0:04:48he seemed to hesitate, motionless,
0:04:48 > 0:04:52before at last making his entrance into the world with a great cry.
0:04:56 > 0:04:59Don Jose Ruiz, his father, was a drawing teacher
0:04:59 > 0:05:01and a not-very-successful painter.
0:05:03 > 0:05:06Young Pablo could draw before he could talk.
0:05:06 > 0:05:08The first word he spoke was "lapiz" - pencil.
0:05:11 > 0:05:14His father taught him to draw pigeons, but before long,
0:05:14 > 0:05:17he was fascinated by the bullfight.
0:05:17 > 0:05:18Quite a spectacle for a child,
0:05:18 > 0:05:21seeing a great arena for the first time.
0:05:30 > 0:05:35Don Jose was not just astonished by his son, he was completely dazzled.
0:05:37 > 0:05:41So, he decided to give his young prodigy a proper training.
0:05:41 > 0:05:43He took him to the Prado in Madrid.
0:05:45 > 0:05:48It was Pablo's first encounter with the Spanish masters,
0:05:48 > 0:05:50and it opened his eyes.
0:05:54 > 0:05:56Goya.
0:05:57 > 0:05:58Velazquez.
0:05:59 > 0:06:04He discovered the whole tradition of Spanish epic and realist painting.
0:06:05 > 0:06:09Don Jose hoped to turn Picasso into a great classical painter,
0:06:09 > 0:06:12but Pablo's dream was to paint life as it really is,
0:06:12 > 0:06:15with all its suffering and its doubts.
0:06:15 > 0:06:18His personal quest had begun
0:06:18 > 0:06:20and Pablo started turning out self-portraits
0:06:20 > 0:06:23that were a long way from the academic style
0:06:23 > 0:06:24he wanted to leave behind.
0:06:27 > 0:06:31In ebullient, avant-garde Barcelona, Gaudi was changing
0:06:31 > 0:06:33the face of architecture, while students
0:06:33 > 0:06:37veered from Nietzschean philosophy to Catalan nationalism.
0:06:39 > 0:06:43Pablo whiled away his time at the Four Cats cabaret,
0:06:43 > 0:06:46with the poet Jaime Sabartes, the painter Casagemas
0:06:46 > 0:06:50and Manuel Pallares, who would all become lifelong friends.
0:06:53 > 0:06:55He first tasted the pleasures of the flesh
0:06:55 > 0:06:57in the brothels of the Carrer D'Avinyo.
0:06:58 > 0:07:01He drowned himself in the arms of prostitutes,
0:07:01 > 0:07:04waking in him a love of paid-for fantasies.
0:07:06 > 0:07:09The 18-year-old boy would, all his life,
0:07:09 > 0:07:12have a fascination with physical love.
0:07:12 > 0:07:16Eroticism now appeared in his work and would never leave it.
0:07:19 > 0:07:22Exasperated with his father's constant disapproval
0:07:22 > 0:07:26at his bohemian lifestyle, Pablo decided to leave for Paris,
0:07:26 > 0:07:30wellspring of the Art Nouveau that was taking Europe by storm.
0:07:32 > 0:07:35Along with Casagemas and Pallares,
0:07:35 > 0:07:38Pablo explored the nightlife of the Belle Epoque.
0:07:39 > 0:07:41They went to the Moulin Rouge in Montmartre,
0:07:41 > 0:07:44to the Chat Noir and the Moulin de la Galette.
0:07:45 > 0:07:47On these nights on the town,
0:07:47 > 0:07:50the three friends took artists' models from Montmartre with them -
0:07:50 > 0:07:54sensual, independent young women, who would happily pose naked
0:07:54 > 0:07:56for all the painters in their studios.
0:07:58 > 0:08:01Laure Florentin was one of them.
0:08:01 > 0:08:03In Montmartre, she was known as Germaine.
0:08:03 > 0:08:06Picasso's friend, Casagemas, fell passionately,
0:08:06 > 0:08:08and violently, in love with her.
0:08:11 > 0:08:13None of his friends knew, though, that Casagemas
0:08:13 > 0:08:15suffered from congenital impotence
0:08:15 > 0:08:18and could not satisfy his young beauty's desires.
0:08:21 > 0:08:24Since she wanted more than the platonic love that was
0:08:24 > 0:08:27all he could give her, Germaine dropped him.
0:08:29 > 0:08:34Casagemas, spouting tears and threats, started drinking heavily.
0:08:34 > 0:08:38In a moment of despair, he decided to shoot his mistress, crying,
0:08:38 > 0:08:40"So much for you!"
0:08:40 > 0:08:44Germaine escaped with her life, but only just.
0:08:44 > 0:08:48Casagemas turned the gun on himself,
0:08:48 > 0:08:51muttering, "So much for me."
0:08:52 > 0:08:54This time, he didn't miss.
0:08:58 > 0:09:03The death of such a dear friend was a heavy blow.
0:09:03 > 0:09:06In that year of 1901,
0:09:06 > 0:09:10pain found its irrevocable way into Picasso's brushstrokes.
0:09:11 > 0:09:15These paintings shed light on a key moment in the life
0:09:15 > 0:09:17and work of the young painter.
0:09:19 > 0:09:23Laid out in his coffin, all the colour had drained out of Casagemas.
0:09:23 > 0:09:25And soon, only blue would remain.
0:09:27 > 0:09:31Blue for the fragility of existence,
0:09:31 > 0:09:33blue for cold, blue for death.
0:09:36 > 0:09:40From now on, Pablo would paint what he saw, but above all,
0:09:40 > 0:09:42what he felt...
0:09:44 > 0:09:49..poverty, solitude, deprivation.
0:09:52 > 0:09:54After two years of misery and blue,
0:09:54 > 0:09:58Pablo managed to shake off the death of his friend
0:09:58 > 0:10:00in a masterpiece entitled Life.
0:10:02 > 0:10:05The impotent Casagemas and Germaine,
0:10:05 > 0:10:09unable to have children, confront the spectre of maternity.
0:10:13 > 0:10:16But it's still with a heavy heart, felt in his work,
0:10:16 > 0:10:21that, at 22 years old, the young painter moved into an insalubrious,
0:10:21 > 0:10:23damp and dirty building.
0:10:23 > 0:10:28His friend, the poet Max Jacob, named it the Bateau-Lavoir,
0:10:28 > 0:10:29the laundry boat.
0:10:32 > 0:10:36There, Max read Baudelaire and Verlaine to Pablo,
0:10:36 > 0:10:40who was, at last, happy with this life of a painter among poets,
0:10:40 > 0:10:43with Max, and now with Guillaume Apollinaire,
0:10:43 > 0:10:46whom he met in a sleazy bar near the Gare Saint-Lazare.
0:10:47 > 0:10:49The two poets had been the only ones
0:10:49 > 0:10:52to stand up for Pablo's gloomy and grim paintings,
0:10:52 > 0:10:56but now they would witness a sudden metamorphosis of their friend.
0:10:57 > 0:10:59This portrait, on a scrap of cardboard,
0:10:59 > 0:11:02found in Picasso's house after his death,
0:11:02 > 0:11:05is the record of a brief and passionate affair that,
0:11:05 > 0:11:08to the end of his days, Pablo would never talk of.
0:11:08 > 0:11:11Her name was Madeleine and, thanks to her,
0:11:11 > 0:11:13Picasso now saw la vie en rose.
0:11:18 > 0:11:22Pablo had discovered the Medrano Circus, in the foothills
0:11:22 > 0:11:25of Montmartre, where he spent hours chatting with the clowns.
0:11:31 > 0:11:34Sharing a few moments of the life of these travelling folk
0:11:34 > 0:11:37quickly impacted on Picasso's painting,
0:11:37 > 0:11:43in this series on performers, acrobats and their family life.
0:11:43 > 0:11:47Dreaming of fatherhood with la belle Madeleine, he painted himself
0:11:47 > 0:11:52as a harlequin but all too soon, Madeleine was eclipsed by another.
0:11:52 > 0:11:55She walked into his life one summer evening,
0:11:55 > 0:11:57as a thunderstorm shook the Bateau-Lavoir.
0:12:00 > 0:12:05Amelie Lang was a model on the run from her violent husband
0:12:05 > 0:12:09and was enjoying many affairs in the studios of Montmartre.
0:12:09 > 0:12:12They called her Fernande.
0:12:12 > 0:12:14IN FRENCH:
0:12:49 > 0:12:52Pablo, ever the possessive ladies' man, managed to
0:12:52 > 0:12:55ensnare the delightful Fernande in his web
0:12:55 > 0:12:58and trapped her in his studio.
0:12:58 > 0:13:01It was an opium-infused prison of love and painting.
0:13:02 > 0:13:04Under the drug's influence,
0:13:04 > 0:13:07they lost themselves in their own fantasy world.
0:13:30 > 0:13:32Summer, 1906.
0:13:32 > 0:13:36Two friends, Max Jacob and Guillaume Apollinaire, were trying to
0:13:36 > 0:13:40carry a heavy trunk full of tubes of paint and blank canvases.
0:13:41 > 0:13:45Pablo had decided to go away with Fernande on the money
0:13:45 > 0:13:46from art dealer Ambroise Vollard,
0:13:46 > 0:13:50who had bought all the paintings from his pink period.
0:13:51 > 0:13:52Fernande, no doubt,
0:13:52 > 0:13:55would have preferred a more pleasant destination,
0:13:55 > 0:13:58but Pablo had chosen the dry and lonely landscape of Gosol,
0:13:58 > 0:14:00in the Catalan mountains.
0:14:00 > 0:14:03IN FRENCH:
0:14:15 > 0:14:18If Picasso felt the need to see out his Spanish roots, it was because
0:14:18 > 0:14:23he was besieged by doubts about how much his paintings actually meant.
0:14:23 > 0:14:27He had been bowled over by the Ingres retrospective
0:14:27 > 0:14:28at the Grand Palais.
0:14:28 > 0:14:30There, for the first time,
0:14:30 > 0:14:33a picture that had been considered too scandalous was shown.
0:14:33 > 0:14:36Picasso was dazzled by The Turkish Bath.
0:14:37 > 0:14:40He was not the only one to fall under its spell.
0:14:41 > 0:14:45Henri Matisse, the flag-bearer of the Fauvist movement,
0:14:45 > 0:14:49had, that spring, presented The Joy Of Life, inspired
0:14:49 > 0:14:53by The Turkish Bath, and its colours had aroused Picasso's indignation.
0:14:56 > 0:14:59The picture troubled him.
0:14:59 > 0:15:00No doubt, for the first time in his life,
0:15:00 > 0:15:03he felt rivalry with another painter.
0:15:04 > 0:15:08His reply to Ingres, and especially to Matisse,
0:15:08 > 0:15:11influenced by the austere surroundings of Gosol,
0:15:11 > 0:15:14was to turn to primitivism.
0:15:20 > 0:15:23Go back to the very roots of art.
0:15:24 > 0:15:28Learn to be clumsy again, and get down to basics.
0:15:30 > 0:15:34His faces would soon become masks.
0:15:34 > 0:15:37Back in Paris, Pablo continued his research.
0:15:37 > 0:15:40He used himself as his own model,
0:15:40 > 0:15:43as these self-portraits found in his house show.
0:15:44 > 0:15:49Picasso had decided to paint what he felt, rather than what he saw.
0:15:49 > 0:15:52He was searching for a kind of painting that had never been
0:15:52 > 0:15:56seen before and shut himself up at his studio at the Bateau-Lavoir.
0:15:58 > 0:16:01It is thanks to the sketchbooks and studies that he left behind
0:16:01 > 0:16:04that we now know that this process,
0:16:04 > 0:16:06that would lead to one of the most celebrated
0:16:06 > 0:16:07paintings in the history of art,
0:16:07 > 0:16:13lasted for no less than nine months and required more than 800 studies.
0:16:15 > 0:16:20Pablo had decided on its risque subject from the very start.
0:16:20 > 0:16:21It was to be a brothel scene.
0:16:24 > 0:16:29The violence of society, the darkness of sexuality.
0:16:33 > 0:16:36The initial influence was primitive Spanish art -
0:16:36 > 0:16:39Iberian statues that Pablo had come across in the Louvre.
0:16:43 > 0:16:46Then there was not African masks, as had always been believed,
0:16:46 > 0:16:48but the photographs
0:16:48 > 0:16:51brought back by Edmond Fortier from black Africa.
0:16:54 > 0:16:59The faces, twisted and scarified, has finally become primitive masks.
0:17:03 > 0:17:06Ingres, Matisse -
0:17:06 > 0:17:09Picasso had definitively deconstructed
0:17:09 > 0:17:12both The Turkish Bath and The Joy Of Life.
0:17:14 > 0:17:18Pablo called the painting The Brothel At Avinyo, in reference
0:17:18 > 0:17:20to his adventures in that street back in Barcelona.
0:17:22 > 0:17:25Later, to the great chagrin of the artist, it would be renamed
0:17:25 > 0:17:28Les Demoiselles d'Avignon.
0:17:28 > 0:17:30It represented a complete break with all the conventions
0:17:30 > 0:17:33of Western art since the Renaissance.
0:17:42 > 0:17:45Nobody seemed to understand his Avinyo bordello.
0:17:45 > 0:17:47So, Picasso carried on researching those forms
0:17:47 > 0:17:50that would eventually lead him to Cubism.
0:17:53 > 0:17:56It was an adventure that started with photography.
0:17:58 > 0:18:03He had discovered photography when he first came to Paris.
0:18:03 > 0:18:10He quickly started playing with tricks of perspective,
0:18:06 > 0:18:10as in this image, the first one we have by Picasso, the photographer.
0:18:14 > 0:18:18Appearing among his canvases on the left of the photo amused him.
0:18:21 > 0:18:24He photographed himself in his Bateau-Lavoir studio
0:18:24 > 0:18:27in the middle of his beloved collection of African statuettes.
0:18:32 > 0:18:36There, one evening, high on hashish and in a state of despair,
0:18:36 > 0:18:39he cried out that he might as well kill himself,
0:18:39 > 0:18:41now that photography existed.
0:18:41 > 0:18:45What was the point of painting, if reality could be captured by a lens?
0:18:49 > 0:18:51In order to surpass photography,
0:18:51 > 0:18:55he needed to drag painting beyond what was real.
0:18:57 > 0:19:00When he went to Horta de Ebro with Fernande
0:19:00 > 0:19:04in the summer of 1909, Pablo captured the landscapes.
0:19:04 > 0:19:07On the canvas, the reservoir he had photographed
0:19:07 > 0:19:10became deformed and the houses above it elongated.
0:19:12 > 0:19:14"That's where it all started.
0:19:14 > 0:19:18"That's where I realised how far I could go," he would later say.
0:19:23 > 0:19:25To give volume to figures.
0:19:26 > 0:19:30To take geometrical forms as far as possible.
0:19:34 > 0:19:39To deconstruct forms and take them beyond reality.
0:19:39 > 0:19:42Pablo also tried his hand at Cubist sculpture,
0:19:42 > 0:19:45breaking up, as he called it, the head of Fernande
0:19:45 > 0:19:47into a multitude of planes.
0:19:51 > 0:19:54He had travelled a long way from the sensuality of Gosol
0:19:54 > 0:19:56and the Bateau-Lavoir.
0:19:56 > 0:20:00But by 1911, Pablo, the eternal ladies' man,
0:20:00 > 0:20:03had no time for Fernande any more.
0:20:03 > 0:20:07He had fallen for the frail and elegant Eva Gouel.
0:20:12 > 0:20:15He named all his paintings after Eva.
0:20:15 > 0:20:18Cubism was now leading towards abstraction.
0:20:19 > 0:20:22Based on a popular song of the time, "Oh, ma jolie,
0:20:22 > 0:20:26"mon coeur te dit bonjour", Pablo depicted Eva,
0:20:26 > 0:20:31his secret lover, with the words Ma Jolie - My Pretty One.
0:20:35 > 0:20:39Fernande was so jealous of Pablo's new liaison
0:20:39 > 0:20:42that he and Eva were soon forced to flee Paris.
0:20:44 > 0:20:49They sought refuge near Avignon with Georges Braque and his wife.
0:20:49 > 0:20:52Georges was the only one to have understood
0:20:52 > 0:20:53Les Demoiselles d'Avignon.
0:20:53 > 0:20:58Moreover, he was Pablo's ally in the shared folly of Cubism.
0:20:58 > 0:21:03When Braque showed his paintings at the Autumn Salon of 1908,
0:21:03 > 0:21:07Matisse said, "Look! Braque has sent us some paintings
0:21:07 > 0:21:09"full of little cubes!"
0:21:09 > 0:21:11Soon, though, cubes would be all the rage.
0:21:13 > 0:21:15EXPLOSION
0:21:17 > 0:21:19The First World War halted the development of Cubism,
0:21:19 > 0:21:23as fellow artists from the movement were called to the front.
0:21:23 > 0:21:26Picasso, though, avoided conscription,
0:21:26 > 0:21:28because of his Spanish nationality.
0:21:31 > 0:21:36Then, in 1914, Eva contracted tuberculosis.
0:21:40 > 0:21:43The woman he loved was now in danger.
0:21:43 > 0:21:46It was no longer enough to represent her as just words on a canvas.
0:21:48 > 0:21:50Now, Picasso painted himself with Eva in an evocation
0:21:50 > 0:21:53of the painter and his model -
0:21:53 > 0:21:57a pairing that would become the pictorial obsession of a lifetime.
0:21:59 > 0:22:03Eva died in 1915 and Pablo would forever keep this canvas
0:22:03 > 0:22:05hidden away in his studios.
0:22:10 > 0:22:13By now, the war was bogged down in the trenches.
0:22:13 > 0:22:16But in Montparnasse, little by little,
0:22:16 > 0:22:17life was getting back to normal.
0:22:19 > 0:22:22Soldiers on a few days' leave from the front
0:22:22 > 0:22:24enjoyed the cafe terraces.
0:22:24 > 0:22:29Pablo returned to his portrait and started sketching his old friends -
0:22:29 > 0:22:34Guillaume Apollinaire, badly wounded, who has had brain surgery.
0:22:34 > 0:22:37Max Jacob, the faithful friend.
0:22:37 > 0:22:41And above all, a newcomer who appeared in Pablo's life.
0:22:41 > 0:22:43A defector from the Paris in-crowd.
0:22:43 > 0:22:48He was 25 and his name was Jean Cocteau.
0:22:48 > 0:22:49TRANSLATION:
0:22:49 > 0:22:51Montparnasse was a village.
0:22:51 > 0:22:54You sat staring at the Rotonde, just like that any old local.
0:22:54 > 0:22:58I remember well the time I asked Picasso to do Parade With me.
0:22:58 > 0:23:01It was if I had dragged Renaud backstage at a music hall.
0:23:01 > 0:23:03Well, everyone looked down their noses at us.
0:23:03 > 0:23:06And I made this proposition to him right there
0:23:06 > 0:23:08on the street in front of the Rotonde.
0:23:08 > 0:23:10I tell you, it was like being in a village.
0:23:12 > 0:23:15Cocteau dreamt of creating a new artistic movement,
0:23:15 > 0:23:19bringing together Picasso with the composer Eric Satie
0:23:19 > 0:23:23and Diaghilev's Russian ballet for a new show called Parade.
0:23:27 > 0:23:31Picasso threw himself passionately into this new world of the theatre.
0:23:36 > 0:23:40When, in February 1917, he arrived in Rome,
0:23:40 > 0:23:44where the Russian ballet was in residence, Pablo discovered
0:23:44 > 0:23:47the life of a ballet company, with its 60 ballerinas.
0:23:49 > 0:23:51Diaghilev may have had 60 stars,
0:23:51 > 0:23:55but it was just one of them who dazzled Picasso.
0:23:55 > 0:23:57She was one of the youngest in the troupe.
0:23:57 > 0:23:59The purity of her beauty entranced him.
0:24:01 > 0:24:03Her name was Olga Khokhlova.
0:24:05 > 0:24:07He followed her on her tour of Italy
0:24:07 > 0:24:10until the troupe returned to Paris for the opening of Parade.
0:24:12 > 0:24:15As the audience took their seats in Paris's Chatelet theatre
0:24:15 > 0:24:18that May evening in 1917,
0:24:18 > 0:24:21the first thing they saw was the huge stage curtain,
0:24:21 > 0:24:23painted by Picasso.
0:24:25 > 0:24:27Its air of classical romanticism
0:24:27 > 0:24:31stood in sharp contrast to the resolutely Cubist scenery.
0:24:33 > 0:24:37In a fantasy inspired by the circus and conceived by Picasso,
0:24:37 > 0:24:41these monolithic figures in their Cubist costumes were the managers.
0:24:44 > 0:24:47Guillaume Apollinaire was there to applaud his friends.
0:24:47 > 0:24:51He coined a new word for Picasso and for Parade - surrealism.
0:24:53 > 0:24:54A new spirit.
0:24:55 > 0:24:58But the audience reacted angrily.
0:24:58 > 0:25:00TRANSLATION:
0:25:00 > 0:25:01We had one chap say to another,
0:25:01 > 0:25:04"If I had known it was this stupid, I would have brought the children."
0:25:04 > 0:25:06In those days, women still wore hat pins
0:25:06 > 0:25:11and they wanted to stick them in our eyes - me and Picasso and Satie.
0:25:11 > 0:25:15But they were impressed with Apollinaire and his heroic bandages.
0:25:15 > 0:25:17He was a real hero. He saved us.
0:25:22 > 0:25:25Guillaume Apollinaire and Pablo Picasso were inseparable.
0:25:27 > 0:25:31Perhaps inevitably, each would be a witness at the other's wedding.
0:25:33 > 0:25:35Guillaume got married that spring.
0:25:35 > 0:25:39Then, in July 1918, Picasso married the beautiful Olga Khokhlova.
0:25:39 > 0:25:45Picasso's witnesses were the poets who had sheared his life
0:25:45 > 0:25:49since he first came to Paris - Max Jacob,
0:25:49 > 0:25:51Jean Cocteau and Guillaume Apollinaire.
0:25:55 > 0:25:58Guillaume's gift to Pablo was a poem.
0:25:58 > 0:26:01"Dear Pablo, the war goes on.
0:26:01 > 0:26:05"Our marriages are children of the war and will live long.
0:26:05 > 0:26:09"Our God now wants to help us, his children wise, courageous.
0:26:09 > 0:26:14"So may he bless our weddings, our poems and paintings
0:26:14 > 0:26:16"and one day, like the stars above,
0:26:16 > 0:26:19"along with these dear ones we love,
0:26:19 > 0:26:21"dear Pablo, may he let us be
0:26:21 > 0:26:23"singing for all eternity."
0:26:30 > 0:26:33On the 11th of November, 1918,
0:26:33 > 0:26:36the whole country finally celebrated victory.
0:26:38 > 0:26:41But although delighted by Germany's surrender,
0:26:41 > 0:26:43Pablo received terrible news.
0:26:43 > 0:26:47Guillaume Apollinaire had died in agony of the Spanish flu.
0:26:56 > 0:26:59Olga and Pablo Picasso started life as newlyweds
0:26:59 > 0:27:02in a new-found prosperity.
0:27:02 > 0:27:06The gallery owner Paul Rosenberg had, every year,
0:27:06 > 0:27:08started buying Picasso's canvasses
0:27:08 > 0:27:10for hundreds of thousands of francs
0:27:10 > 0:27:14which he sold in France, but especially in America.
0:27:16 > 0:27:19It was Rosenberg who found, right next door to his gallery,
0:27:19 > 0:27:23the smart apartment that was perfect for Picasso's new life -
0:27:24 > 0:27:27the glamorous life of a now-famous artist.
0:27:29 > 0:27:32Olga gave Picasso access to her friends,
0:27:32 > 0:27:36Eric Satie, Coco Chanel and Igor Stravinsky.
0:27:36 > 0:27:38TRANSLATION:
0:27:38 > 0:27:41This was a woman who, through her work and what she did
0:27:41 > 0:27:45and through the people she knew, was already in a, sort of, cultural
0:27:45 > 0:27:50avant-garde and I think that, too, attracted Picasso, being close
0:27:50 > 0:27:55to people who saw that beginning of the 20th century through modern eyes.
0:27:57 > 0:28:01Olga aspired to a life of high society and saw in Picasso
0:28:01 > 0:28:05an established figure with whom she could settle down.
0:28:05 > 0:28:09Picasso amused himself with some traditional portraiture -
0:28:09 > 0:28:12Rosenberg's wife or Olga in the style of Ingres.
0:28:14 > 0:28:17Olga was now the happily-married wife,
0:28:17 > 0:28:20surrounded by all Pablo's paintings, all his different
0:28:20 > 0:28:24styles and periods but overlapped and blended into each other,
0:28:24 > 0:28:27only to suddenly split away and head for new horizons.
0:28:31 > 0:28:35Olga was the first to undergo the transformation that Picasso
0:28:35 > 0:28:37now imposed on his subjects.
0:28:37 > 0:28:41Bodies got heavier, the hands and feet seemed to swell.
0:28:44 > 0:28:48He invented a race of giants, not of this world.
0:28:51 > 0:28:54Pablo the giant was now completely swollen with pride.
0:28:56 > 0:28:59At 40 years old, he at last became a father.
0:29:01 > 0:29:07Olga bore him a baby son, Paul, born in February 1921.
0:29:10 > 0:29:12TRANSLATION:
0:29:12 > 0:29:18Picasso said it himself. His work is his diary, his biography.
0:29:19 > 0:29:22Olga was his model.
0:29:23 > 0:29:28My father, too, as soon as he was born, was immediately used as a model
0:29:28 > 0:29:31and part of his creation.
0:29:31 > 0:29:35The beauty of those works, especially the ones that feature my father,
0:29:35 > 0:29:39shows all that sweetness, that love, that life.
0:29:39 > 0:29:42From now on, the women he loved were not the only ones that
0:29:42 > 0:29:46inspired Picasso. The child, too, became a model.
0:29:46 > 0:29:50Through him, the painter recharged and renewed himself.
0:29:52 > 0:29:56The family life Pablo had built around himself might have been
0:29:56 > 0:30:00fulfilling for the man, but it could not satisfy the artist for long.
0:30:05 > 0:30:09Picasso was naturally drawn to the effervescent Paris
0:30:09 > 0:30:10of the Roaring Twenties
0:30:12 > 0:30:15Now, he pushed to its extreme the deformation of the body
0:30:15 > 0:30:17begun in those giants,
0:30:18 > 0:30:20as if he wanted to be part of the young poet
0:30:20 > 0:30:22Andre Breton's Surrealist movement.
0:30:26 > 0:30:30The Dance, painted in 1925, was, in its skewed composition,
0:30:30 > 0:30:32a revolutionary piece.
0:30:34 > 0:30:38One that would completely overturn Picasso's whole body of work.
0:30:39 > 0:30:41It's a danse macabre
0:30:41 > 0:30:44that brought all the phantoms of the past back to life.
0:30:46 > 0:30:51The dancer, driven mad by the furious rhythms, was Germaine.
0:30:51 > 0:30:54Like the Grim Reaper, she spread death among the men -
0:30:54 > 0:30:57like his friend Casagemas, who had tried to love her.
0:30:59 > 0:31:02For Picasso, love was always fatal.
0:31:02 > 0:31:05Sexuality was always violence.
0:31:05 > 0:31:08Even a kiss became a thing of terror
0:31:08 > 0:31:11in this painting from the same period.
0:31:11 > 0:31:14The Kiss, or the journey of the painter -
0:31:14 > 0:31:19anguished, obsessed and tormented to the very depths of his being.
0:31:26 > 0:31:30One day in January 1927, Pablo, whose marriage to Olga
0:31:30 > 0:31:34was by now on the rocks, was walking around the Opera district.
0:31:34 > 0:31:38Suddenly, out of the blue, he noticed a young girl.
0:31:38 > 0:31:42He had found the perfect model he'd always been looking for.
0:31:42 > 0:31:44TRANSLATION: When my father first set eyes on my mother,
0:31:44 > 0:31:47she was a splendid 17-year-old.
0:31:47 > 0:31:49Blonde, blue eyes, fresh skinned,
0:31:49 > 0:31:52and she was going in to the Galeries Lafayette department store -
0:31:52 > 0:31:54the famous one.
0:31:54 > 0:31:56And he noticed her from outside,
0:31:56 > 0:32:00because there was this, sort of, bin where she spent ages
0:32:00 > 0:32:04looking for collars and cuffs.
0:32:04 > 0:32:07So, my father was waiting for her, waiting and waiting,
0:32:07 > 0:32:09and she never came out.
0:32:09 > 0:32:12She didn't know that there was this gentleman outside ogling her.
0:32:12 > 0:32:15He was the one who always went on about it.
0:32:15 > 0:32:17"I was exploding," he said.
0:32:17 > 0:32:21Her name was Marie-Therese Walter and she was only 17.
0:32:21 > 0:32:24She would soon captivate the man,
0:32:24 > 0:32:26and completely turn around the artist.
0:32:38 > 0:32:41Obviously, he couldn't let anyone find out
0:32:41 > 0:32:44that he had an underage girl posing for him in his studio,
0:32:44 > 0:32:46so young Marie-Therese,
0:32:46 > 0:32:50with whom Pablo was now enjoying a torrid affair,
0:32:50 > 0:32:54only appeared in his paintings in a disguised, coded form.
0:32:54 > 0:32:59Here are her initials, MT, as the frets of these guitars,
0:32:59 > 0:33:02and here she is disguised as the woman playing ball,
0:33:02 > 0:33:05stretched out across his paintings from the beach at Dinard,
0:33:05 > 0:33:10where Pablo, Olga and little Paul enjoyed family holidays -
0:33:10 > 0:33:13with Marie-Therese hidden away at a nearby guesthouse.
0:33:33 > 0:33:36These paintings are an amazing testimony to the dilemma
0:33:36 > 0:33:39of a man torn between Olga and Marie-Therese.
0:33:41 > 0:33:44The Kiss now represents the bitter face-off
0:33:44 > 0:33:48between the dark-haired Olga and the blonde Marie-Therese.
0:33:50 > 0:33:55Marie-Therese, the object of obsession of a 47-year-old man
0:33:55 > 0:34:00who couldn't tear himself away from the face, the smile of his mistress.
0:34:00 > 0:34:03He took photos of her, dozens of them.
0:34:06 > 0:34:11And, just for fun, he turned them into a, sort of, flipbook.
0:34:13 > 0:34:18So, now he had at his fingertips a moving image of the woman he loved.
0:34:27 > 0:34:29When Marie-Therese at last came of age,
0:34:29 > 0:34:32it was a liberating moment for Pablo.
0:34:32 > 0:34:38Now, he could fill his canvases with her body, her curves, her nakedness.
0:34:38 > 0:34:42These are masterpieces that will figure among his most famous works.
0:35:04 > 0:35:06To keep his work secret from Olga
0:35:06 > 0:35:09and create the sculptures inspired by his new muse,
0:35:09 > 0:35:14Pablo bought himself a chateau, near Gisors, in Boisgeloup.
0:35:14 > 0:35:17At first, the purity of Marie-Therese's face
0:35:17 > 0:35:19became classical sculpture.
0:35:21 > 0:35:23But then it was remodelled...
0:35:23 > 0:35:25deformed...
0:35:25 > 0:35:27refined.
0:35:33 > 0:35:36In a seemingly unstoppable frenzy,
0:35:36 > 0:35:38Picasso started turning out engravings
0:35:38 > 0:35:42in thrall to the almost-obsessive repetition the medium allows.
0:35:54 > 0:35:58Sexuality soon tipped over into bestiality, as,
0:35:58 > 0:36:02inspired by Marie-Therese, he seized on a new theme -
0:36:02 > 0:36:04the Minotaur,
0:36:04 > 0:36:07the half-man, half-bull monster of mythology,
0:36:07 > 0:36:12to whom the Athenians yielded up their young virgins.
0:36:12 > 0:36:16Pablo, the Minotaur, raping the young beauty.
0:36:19 > 0:36:23All the drama of his most famous engraving, Minotauromachy,
0:36:23 > 0:36:25centres on Marie-Therese.
0:36:25 > 0:36:27She is the female bullfighter
0:36:27 > 0:36:30carried off by the disembowelled horse.
0:36:30 > 0:36:35She is also the carefree young woman who watches Pablo from her window
0:36:35 > 0:36:36as he loses all control.
0:36:38 > 0:36:42But, above all, she was the only one capable of taming the monster
0:36:42 > 0:36:44and saving him from himself.
0:36:50 > 0:36:53Despite the ever-increasing tension between them,
0:36:53 > 0:36:57Olga and Picasso still kept trying to hold on to their family life.
0:36:59 > 0:37:04In these precious and rare family images, it was Pablo himself
0:37:04 > 0:37:08who set up a camera in the garden in Boisgeloup to film Olga and Paul.
0:37:15 > 0:37:19It was a moment of happiness for a family that would soon split apart.
0:37:29 > 0:37:32Olga was losing the man she loved.
0:37:35 > 0:37:39When he learned that Marie-Therese was now with child,
0:37:39 > 0:37:41Pablo hastened the divorce proceedings.
0:37:57 > 0:38:02Olga simply couldn't imagine not being Madame Picasso.
0:38:02 > 0:38:05Nevertheless, Pablo got the separation he wanted.
0:38:08 > 0:38:11Olga got the chateau in Boisgeloup to live in.
0:38:13 > 0:38:16And because divorce was still illegal for a Spaniard,
0:38:16 > 0:38:20she was able to remain Madame Olga Picasso till the day she died.
0:38:25 > 0:38:27So, Pablo would never be able
0:38:27 > 0:38:31to properly acknowledge his future children.
0:38:31 > 0:38:34The first to arrive was little Maria de la Concepcion,
0:38:34 > 0:38:37born the 5th of September 1935.
0:38:39 > 0:38:41TRANSLATION: I arrived.
0:38:41 > 0:38:44What's more, I was half dead, because they'd
0:38:44 > 0:38:48so anaesthetised my mother that I came out a bit...floppy.
0:38:48 > 0:38:50What to call this thing?
0:38:50 > 0:38:52Is it a girl?
0:38:52 > 0:38:54So, naturally, the only thing they could think of,
0:38:54 > 0:38:56and both of them came up with it,
0:38:56 > 0:38:58was Maria de la Concepcion -
0:38:58 > 0:39:02the little sister my father lost when he was 11 or 12,
0:39:02 > 0:39:03and still grieved for.
0:39:04 > 0:39:09Now 54, Pablo installed Marie-Therese and Maya in a house,
0:39:09 > 0:39:14Tremblay-sur-Mauldre, lent to him by the gallery owner Ambroise Vollard.
0:39:16 > 0:39:20Pablo now had Marie-Therese in a golden cage.
0:39:20 > 0:39:23Like the loving and dutiful companion that she was,
0:39:23 > 0:39:24she accepted her fate,
0:39:24 > 0:39:28giving herself forever to the man who had awoken her
0:39:28 > 0:39:31from innocence to experience.
0:39:31 > 0:39:33He wrote passionate letters to her.
0:39:33 > 0:39:37"I love you tonight more than yesterday, less than tomorrow,
0:39:37 > 0:39:41"I love you, Marie-Therese. I love you, I love you, I love you."
0:39:46 > 0:39:48But the Minotaur was insatiable,
0:39:48 > 0:39:51and he was already devouring yet another woman.
0:39:56 > 0:39:58His new victim was Dora Maar.
0:39:58 > 0:40:00She was 30.
0:40:01 > 0:40:03Dora was a photographer,
0:40:03 > 0:40:07half French, half Yugoslavian, brought up in Argentina.
0:40:07 > 0:40:10She spoke Spanish and she thought like a Surrealist.
0:40:10 > 0:40:14She impressed Pablo with her passion for politics
0:40:14 > 0:40:17and her knowledge of, and love for, art.
0:40:17 > 0:40:20She was introduced to him by the poet Paul Eluard.
0:40:20 > 0:40:26Apollinaire was no more, Max Jacob had withdrawn to a monastery -
0:40:26 > 0:40:29Eluard was now the poet for Picasso.
0:40:31 > 0:40:35Pablo's social and artistic circle revolved around Surrealism.
0:40:35 > 0:40:39along with Eluard, the young photographer Man Ray and Dora,
0:40:39 > 0:40:42he was gripped by a craze for politics.
0:40:45 > 0:40:49He found it intolerable that democracy was in such peril,
0:40:49 > 0:40:51with Italy falling to Mussolini
0:40:51 > 0:40:54and the German Republic under the heel of Hitler.
0:40:55 > 0:40:59Transcendence must now come from poetry.
0:41:00 > 0:41:04And in those trouble times, Picasso would try his hand at it himself.
0:41:05 > 0:41:10When his Surrealist friend Andre Breton published Picasso's poems,
0:41:10 > 0:41:14he would note that he "has the impression of being in the presence
0:41:14 > 0:41:15"of an intimate journal."
0:41:18 > 0:41:20"Let the rats feast where they will,
0:41:20 > 0:41:23"But let them not eat the pigeons in their nest,
0:41:23 > 0:41:26"Nor let them set flags and little lanterns in the wounds
0:41:26 > 0:41:28"and then, in the morning, all is tears."
0:41:28 > 0:41:31"Give, snatch away wrongs and kill I cross over
0:41:31 > 0:41:35"set fire to and burn caress and lick embrace
0:41:35 > 0:41:39"and look, I sound on every flight the bells until they bleed."
0:41:39 > 0:41:41- Viva la republica! - ALL: Viva!
0:41:42 > 0:41:45ALL SING
0:41:47 > 0:41:49Pablo celebrated with Paul Eluard
0:41:49 > 0:41:52the Popular Front's victory in Spain,
0:41:52 > 0:41:57and then that of Leon Blum and his French Popular Front in May, 1936.
0:42:00 > 0:42:03But General Franco wouldn't accept the Left's victory
0:42:03 > 0:42:06and he started a civil war.
0:42:09 > 0:42:12Picasso voiced his confusion in illustrated verse,
0:42:14 > 0:42:19Sueno Y Mentira De Franco - The Dream And Lie Of Franco.
0:42:22 > 0:42:25The Spanish Republic, in complete disarray,
0:42:25 > 0:42:29asked its most illustrious painter to come up with a huge canvas
0:42:29 > 0:42:32that would adorn the Spanish pavilion
0:42:32 > 0:42:34at the next universal exhibition.
0:42:35 > 0:42:39Under the eaves of a large mansion in the Rue des Grands Augustins,
0:42:39 > 0:42:43Dora Maar had found just the studio Picasso was looking for.
0:42:43 > 0:42:45BOMB WHISTLES
0:42:49 > 0:42:53On the 28th of April, 1937, Italian and German planes
0:42:53 > 0:42:56that supported Franco and his nationalists
0:42:56 > 0:42:59bombarded and destroyed the Basque town of Guernica.
0:43:01 > 0:43:04When, on the 30th of April, Pablo saw the photos
0:43:04 > 0:43:06of Europe's first-ever aerial massacre,
0:43:06 > 0:43:09he knew exactly what he had to paint.
0:43:11 > 0:43:14The canvas must be enormous.
0:43:14 > 0:43:18It would, in fact, be almost 25 feet long and over nine feet high.
0:43:20 > 0:43:24The head of a woman, with her dead child in her arms
0:43:24 > 0:43:28is howling at the sky. Tears, where her eyes should be.
0:43:30 > 0:43:34In the background, a horse, struck down by death from the sky,
0:43:34 > 0:43:38struggles to its feet in agony, to scream out injustice.
0:43:39 > 0:43:44And Picasso explained it all in an explicit text.
0:43:44 > 0:43:47"The Spanish Civil War is a battle of reactionary forces
0:43:47 > 0:43:49"against the people, against liberty.
0:43:49 > 0:43:51"In the panel that I shall call Guernica,
0:43:51 > 0:43:55"I clearly express my horror at the military caste that has plunged
0:43:55 > 0:43:57"Spain into an ocean of pain and death."
0:44:00 > 0:44:03Unveiled in July at the Paris Exposition,
0:44:03 > 0:44:07Guernica was taken on a fundraising tour for the Republican cause
0:44:07 > 0:44:11to Stockholm, Manchester and London, before crossing the Atlantic.
0:44:18 > 0:44:21Picasso would not live to see the change in government
0:44:21 > 0:44:23for which the Spanish people had been waiting.
0:44:25 > 0:44:29It was not until 1981 that Guernica was finally hung
0:44:29 > 0:44:30in Madrid's Prado museum.
0:44:35 > 0:44:37As the Second World War engulfed Europe,
0:44:37 > 0:44:41and Paris was occupied, Picasso chose to stay.
0:44:43 > 0:44:46Dora would be his muse in those dark years,
0:44:46 > 0:44:49as the couple closeted themselves in the attic studio.
0:44:53 > 0:44:57It is her body stretched, tortured, suffering.
0:44:59 > 0:45:03L'aubade is Picasso's best-known wartime work.
0:45:03 > 0:45:07The image of a woman serenaded in her imprisonment,
0:45:07 > 0:45:10reflecting the agony of occupation and terror.
0:45:10 > 0:45:12As Paris was liberated,
0:45:12 > 0:45:16Picasso celebrated with Marie-Therese and Maya
0:45:16 > 0:45:17on their balcony.
0:45:17 > 0:45:19But he also now sought personal freedom
0:45:19 > 0:45:23and both Marie-Therese and Dora would soon be eclipsed
0:45:23 > 0:45:24by a new mistress.
0:45:34 > 0:45:37Her name was Francoise Gilot,
0:45:37 > 0:45:40and, with her, Picasso aimed to start again from the beginning.
0:45:42 > 0:45:46He left Paris and moved south with Francoise,
0:45:46 > 0:45:48to break with her previous relationships.
0:45:48 > 0:45:51He soon realised that there was something different
0:45:51 > 0:45:55about this sexually-confident young woman.
0:45:55 > 0:45:58TRANSLATION: I was like the seventh wife of Bluebeard,
0:45:58 > 0:46:02by which I mean, Bluebeard already had a bad reputation.
0:46:02 > 0:46:06Everybody knew it and he didn't even bother to hide it.
0:46:06 > 0:46:09And don't forget, he was 40 years older than me
0:46:09 > 0:46:12and he had an authority about him that I didn't have, at all.
0:46:12 > 0:46:17Throughout this long relationship - ten or 11 years -
0:46:17 > 0:46:21I remained just as much of a mystery to him as on the first day.
0:46:22 > 0:46:27Picasso's depiction of Francoise was of a flower in green and blue -
0:46:27 > 0:46:29La Femme Fleur.
0:46:29 > 0:46:33With her began one of the happiest periods of his life.
0:46:33 > 0:46:36The young art student inspired the celebratory painting,
0:46:36 > 0:46:38La Joie De Vivre -
0:46:38 > 0:46:41Francoise dancing naked in a Mediterranean setting.
0:46:47 > 0:46:51Soon, the couple moved into a house called La Galloise,
0:46:51 > 0:46:54and their first child, Claud, was born in 1947.
0:46:55 > 0:46:59TRANSLATION: We were a charming little family
0:46:59 > 0:47:01in a simple little house.
0:47:01 > 0:47:06Everyone always seemed busy, all around me.
0:47:06 > 0:47:11And I was busy watching them, and watching everything they were doing.
0:47:14 > 0:47:19The first time I really got to know Picasso was in '51
0:47:19 > 0:47:21and we went to La Galloise,
0:47:21 > 0:47:24which seemed such a crummy little...
0:47:24 > 0:47:27dwelling for the greatest artist in the world.
0:47:27 > 0:47:29It was, sort of, so ordinary.
0:47:29 > 0:47:32And, of course, that, in a way, I think, for Picasso, was its quality.
0:47:32 > 0:47:34I mean, he'd become a member of the Communist Party
0:47:34 > 0:47:38and he wanted to live like a, you know, working man -
0:47:38 > 0:47:42no frills, no chichi, and no luxe of any kind.
0:47:42 > 0:47:44We spent a little bit of time at the Galloise,
0:47:44 > 0:47:47but then we went to the factory, the old factory,
0:47:47 > 0:47:49rusting factory he'd taken over,
0:47:49 > 0:47:52which is where he made his sculpture and did most of his painting.
0:47:59 > 0:48:03TRANSLATION: My father had found this place he called Le Fournace.
0:48:03 > 0:48:06You could get there on foot - it wasn't really very far.
0:48:06 > 0:48:10He had his sculpture studio there, and his painting studio.
0:48:10 > 0:48:14And his ceramics workshop was at Madoura's place.
0:48:14 > 0:48:16He spent a lot of time at both of them.
0:48:19 > 0:48:22Pablo Picasso, perpetual innovator,
0:48:22 > 0:48:26now turned to a new medium - ceramics.
0:48:26 > 0:48:29But he continued to use his favourite subject - the female body.
0:48:32 > 0:48:35A sister for Claud arrived in 1949.
0:48:35 > 0:48:39Her name was inspired by one of Picasso's most recognisable works -
0:48:39 > 0:48:41the Dove Of Peace which he offered
0:48:41 > 0:48:45to the International Congress for Peace in 1949.
0:49:03 > 0:49:07The launch of Picasso's dove, or "paloma" in Spanish,
0:49:07 > 0:49:12as a global peace symbol coincided with the birth of his daughter.
0:49:12 > 0:49:16TRANSLATION: Paloma was born at that very moment, you know?
0:49:16 > 0:49:19So, it's not surprising she was named after a dove.
0:49:23 > 0:49:26Paloma joined Picasso's expanding family,
0:49:26 > 0:49:28and his journal of paintings.
0:49:30 > 0:49:33He could finally have all of his children close to him.
0:49:35 > 0:49:39Paul, now 28, would stay closest to his father,
0:49:39 > 0:49:41and regularly joined him at the bullfight.
0:49:43 > 0:49:47Unable to be in his beloved Spain, Picasso would watch
0:49:47 > 0:49:51the Corrida d'Arles and Nimes in the South of France with Francoise.
0:49:52 > 0:49:56One of the tragedies in Picasso's life was that, after 1934,
0:49:56 > 0:49:59he could never return to Spain.
0:49:59 > 0:50:01And he loved Spain, he longed to go back to Spain,
0:50:01 > 0:50:03but there was no way he could do it.
0:50:03 > 0:50:06One way he managed to keep, as it were,
0:50:06 > 0:50:08in touch with Spain, was through the bullfights.
0:50:08 > 0:50:13I think Picasso's involvement in bullfighting
0:50:13 > 0:50:19and the cult of the bull is enormously important on his art.
0:50:19 > 0:50:22SPANISH GUITAR
0:50:33 > 0:50:36At home, the independent Francoise was more than a match
0:50:36 > 0:50:38for the ageing bull,
0:50:38 > 0:50:41and an increasingly-frustrated Picasso responded
0:50:41 > 0:50:44with this image of a knight in armour with his pages.
0:50:44 > 0:50:46What I didn't know at the time,
0:50:46 > 0:50:48which Francoise Gilot told me much later,
0:50:48 > 0:50:50is that the main figure in armour,
0:50:50 > 0:50:54the spikiest of all these armoured figures, was her.
0:50:54 > 0:50:55Because Picasso said, you know,
0:50:55 > 0:50:58"You're so spiky, you won't give way to me over anything,
0:50:58 > 0:51:00"your spikes stick out,
0:51:00 > 0:51:03"and there you are, in armour."
0:51:03 > 0:51:06TRANSLATION: Apparently, he then said to my son,
0:51:06 > 0:51:09"Yes, you're the son of the woman who says no."
0:51:09 > 0:51:12But, in fact, I didn't say no much,
0:51:12 > 0:51:16because that never went down well with Picasso.
0:51:18 > 0:51:20Francoise tolerated, as much as she could,
0:51:20 > 0:51:24the visits of Picasso's former wives and mistresses.
0:51:26 > 0:51:29Olga even moved in nearby,
0:51:29 > 0:51:32proclaiming to the end her status as Madame Picasso.
0:51:33 > 0:51:37The ex-wives weren't stuffed in the closet - they were right there.
0:51:37 > 0:51:40They were always there, for heaven's sake.
0:51:40 > 0:51:42So, already, there was that to put up with.
0:51:42 > 0:51:47And then, in '51, he found himself a girlfriend - I don't know where.
0:51:47 > 0:51:49It was already quite enough for me,
0:51:49 > 0:51:52and then, if there was going to be others, as well,
0:51:52 > 0:51:55apart from me, well, in that case, I wanted to take care of myself
0:51:55 > 0:51:58and go off with the children.
0:51:58 > 0:52:02And his reply to that was completely inappropriate.
0:52:02 > 0:52:05He said, "You don't leave a man like me."
0:52:05 > 0:52:08I just said, "All right, then. Just wait and see. You'll see."
0:52:08 > 0:52:12She was not damaged by the break-up of the relationship.
0:52:12 > 0:52:17I mean, the other women... I mean, Dora went slightly insane,
0:52:17 > 0:52:20Olga, the wife, I mean, had a terrible time.
0:52:20 > 0:52:25Francoise was the only one of Picasso's women
0:52:25 > 0:52:27to survive the experience.
0:52:27 > 0:52:29Picasso was hurt,
0:52:29 > 0:52:36because this was the first time that anybody had left HIM.
0:52:36 > 0:52:39In the past, I mean, he'd left THEM.
0:52:44 > 0:52:48The woman who was to be his last companion was Jacqueline Roque.
0:52:48 > 0:52:50She worked at the local ceramics gallery,
0:52:50 > 0:52:53and had recently separated from her husband.
0:52:56 > 0:53:00The couple acquired a grand house in Cannes called La Californie.
0:53:02 > 0:53:06Also Picasso's studio, it quickly became overwhelmed by art.
0:53:09 > 0:53:13I was lucky to be around at the time of change,
0:53:13 > 0:53:16from Francoise to Jacqueline.
0:53:16 > 0:53:19I felt immediately that what Picasso wanted
0:53:19 > 0:53:23from the woman who would almost certainly be
0:53:23 > 0:53:25the last mistress of his life,
0:53:25 > 0:53:28was someone who was prepared to sacrifice herself
0:53:28 > 0:53:30on the altar of his art.
0:53:30 > 0:53:34And Jacqueline made it very clear to Picasso,
0:53:34 > 0:53:36Jacqueline would do anything.
0:53:36 > 0:53:38And Picasso realised that.
0:53:41 > 0:53:44Picasso could only remarry once Olga had died.
0:53:44 > 0:53:47By then, he was almost 80 years old.
0:53:47 > 0:53:50Jacqueline became the second Madame Picasso.
0:53:53 > 0:53:55In the last years of his life,
0:53:55 > 0:53:58Picasso retreated with Jacqueline into their final home,
0:53:58 > 0:54:02Notre-Dame-de-Vie, only occasionally receiving friends,
0:54:02 > 0:54:04and no longer seeing his children.
0:54:09 > 0:54:11Jacqueline saw herself as protecting Picasso
0:54:11 > 0:54:14from those who would distract him from has art.
0:54:21 > 0:54:24In his 80s, he worked tirelessly
0:54:24 > 0:54:27on versions of some of his best known paintings.
0:54:27 > 0:54:28Le Matador.
0:54:28 > 0:54:30Le Baiser - The Kiss.
0:54:32 > 0:54:34L'aubade - The Serenade.
0:54:35 > 0:54:38TRANSLATION: My father was running out of time.
0:54:38 > 0:54:40The older you get, if you love something
0:54:40 > 0:54:45and are passionate about it, the more you chase after time.
0:54:45 > 0:54:47But above all, you know, just imagine what it means
0:54:47 > 0:54:52to create something every day, day after day after day.
0:54:52 > 0:54:56And just look at the dexterity of the engravings.
0:54:56 > 0:55:00Right at the end of his life, he was doing absolutely extraordinary ones.
0:55:06 > 0:55:10Picasso continued to create furiously.
0:55:10 > 0:55:11His subjects were the female figures
0:55:11 > 0:55:13that had obsessed him his entire life.
0:55:16 > 0:55:19The canvases piled up in every room.
0:55:23 > 0:55:26Pablo Picasso was now 91 -
0:55:26 > 0:55:29still as youthful of spirit and curious as ever.
0:55:29 > 0:55:32But he knew his life was coming to an end.
0:55:32 > 0:55:35TRANSLATION: The last work session we had
0:55:35 > 0:55:37was at the beginning of July 1972,
0:55:37 > 0:55:39and it lasted three hours.
0:55:39 > 0:55:42That worried me, because I thought it might tire him.
0:55:42 > 0:55:47But he had some reproductions of stuff he'd done in 1912, 1913.
0:55:47 > 0:55:51He was absolutely delighted to see them, at any rate.
0:55:51 > 0:55:53It was a terrific session.
0:55:55 > 0:55:59And then, when he'd finished, he took me by the arm and led me
0:55:59 > 0:56:03to a little workshop where he'd laid out his portrait on a chaise longue,
0:56:03 > 0:56:06like a person.
0:56:06 > 0:56:09The one with the bulging eyes, you know?
0:56:10 > 0:56:12And I understood straight away
0:56:12 > 0:56:14that he must have had an attack, or something,
0:56:14 > 0:56:17and he'd done his self-portrait faced with death.
0:56:17 > 0:56:19And our goodbye, really...
0:56:19 > 0:56:23Well, he just saw me out and just left me there.
0:56:26 > 0:56:29In his last days, confined to his bed,
0:56:29 > 0:56:35he continued to draw, with the devoted Jacqueline by his side.
0:56:35 > 0:56:38TRANSLATION: The ritual was always the same.
0:56:38 > 0:56:40He'd get up at 8:30 or 9:00,
0:56:40 > 0:56:44then he had to get on the phone and call his secretary,
0:56:44 > 0:56:47who'd come and bring his mail. They'd talk.
0:56:47 > 0:56:50And that morning, he called just before he died,
0:56:50 > 0:56:52around seven or eight o'clock.
0:56:52 > 0:56:54He was already very ill, very tired,
0:56:54 > 0:56:57and he said to bring him some pencils.
0:56:57 > 0:56:59He started to draw,
0:56:59 > 0:57:02and then died, just like that, in his bed, drawing.
0:57:02 > 0:57:05So, it was a good end.
0:57:07 > 0:57:11The Minotaur was gone, but it would continue to affect
0:57:11 > 0:57:13the destinies of the women in his life.
0:57:15 > 0:57:18Picasso's force of personality,
0:57:18 > 0:57:22his extraordinarily prolific output, his single-mindedness,
0:57:22 > 0:57:25but most of all, his insatiable passion,
0:57:25 > 0:57:28were his legacy to them.
0:57:28 > 0:57:31It was a legacy that would have tragic consequences.
0:57:33 > 0:57:38Marie-Therese ended her life in October 1977,
0:57:38 > 0:57:41four years after Picasso's death,
0:57:41 > 0:57:44unable to carry on, now that the love of her life was gone.
0:57:48 > 0:57:54In 1986, Jacqueline Roque organised a Picasso exhibition in Madrid.
0:57:54 > 0:57:58Nobody knew that it was planned as a last homage to her husband.
0:57:58 > 0:58:02On the evening of the inauguration, at home in Notre-Dame-de-Vie,
0:58:02 > 0:58:06she lay back in bed and pressed the trigger of a revolver.