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