If I told him would he like it. Would he like it if I told him.
Would he like it would Napoleon would Napoleon would would he like it.
If Napoleon if I told him if I told him if Napoleon. Would he like it if I told him if I told him if Napoleon. Would he like it if Napoleon if Napoleon if I told him. If I told him if Napoleon if Napoleon if I told him. If I told him would he like it would he like it if I told him.
Now.
Not now.
And now.
Now.
Exactly as as kings.
Feeling full for it.
Exactitude as kings.
So to beseech you as full as for it.
Exactly or as kings.
Shutters shut and open so do queens. Shutters shut and shutters and so shutters shut and shutters and so and so shutters and so shutters shut and so shutters shut and shutters and so. And so shutters shut and so and also. And also and so and so and also.
Exact resemblance to exact resemblance the exact resemblance as exact as a resemblance, exactly as resembling, exactly resembling, exactly in resemblance exactly a resemblance, exactly and resemblance. For this is so. Because.
Now actively repeat at all, now actively repeat at all, now actively repeat at all.
Have hold and hear, actively repeat at all.
I judge judge.
As a resemblance to him.
Who comes first. Napoleon the first.
Who comes too coming coming too, who goes there, as they go they share, who shares all, all is as all as as yet or as yet.
Now to date now to date. Now and now and date and the date.
Who came first Napoleon at first. Who came first Napoleon the first. Who came first, Napoleon first.
Presently.
Exactly do they do.
First exactly.
Exactly do they do too.
First exactly.
And first exactly.
Exactly do they do.
And first exactly and exactly.
And do they do.
At first exactly and First exactly and do they do.
The first exactly.
And do they do.
The first exactly.
At first exactly.
First as exactly.
At first as exactly.
Presently.
As presently.
As as presently.
He he he he and he and he and and he and he and he and and as and as he and as he and he. He is and as he is, and as he is and he is, he is and as he and he and as he is and he and he and and he and he.
Can curls rob can curls quote, quotable.
As presently.
As exactitude.
As trains.
Has trains.
Has trains.
As trains.
As trains.
Presently.
Proportions.
Presently.
As proportions as presently.
Father and farther.
Was the king or room.
Farther and whether.
Was there was there was there what was there was there what was there was there there was there.
Whether and in there.
As even say so.
One.
I land.Two.
I land.
Three.
The land.
Three.
The land.
Three.
The land.
Two.
I land.
Two.
I land.
One.
I land.
Two.
I land.
As a so.
They cannot.
A note.
They cannot.
A float.
They cannot.
They dote.
They cannot.
They as denote.
Miracles play.
Play fairly.
Play fairly well.
A well.
As well.
As or as presently.
Let me recite what history teaches. History teaches.
Painting in the nineteenth century was only done in France and by Frenchmen, apart from that, painting did not exist, in the twentieth century it was done in France but by Spaniards.
In the nineteenth century painters discovered the need of always having a model in front of them, in the twentieth century they discovered that they must never look at a model. I remember very well, it was between 1904-1908, when people were forced by us or by themselves to look at Picasso’s drawings that the first and most astonishing thing that all of them and that we had to say was that he had done it all so marvellously as if he had had a model but that he had done it without ever having had one. And now the young painters scarcely know that there are models. Everything changes but not without a reason.
When he was nineteen years old Picasso came to Paris, that was in 1900, into a world of painters who had completely learned everything they could from seeing at what they were looking. From Seurat to Courbet they were all of them looking with their eyes and Seurat’s eyes then began to tremble at what his eyes were seeing, he commenced to doubt if in looking he could see. Matisse too began to doubt what his eyes could see. So there was a world ready for Picasso who had in him not only all Spanish painting but Spanish cubism which is the daily life of Spain.
His father was professor of painting in Spain and Picasso wrote painting as other children wrote their a b c. He was born making drawings, not the drawings of a child but the drawings of a painter. His drawings were not of things seen but of things expressed, in short they were words for him and drawing always was his only way of talking and he talks a great deal.
Physically Picasso resembles his mother whose name he finally took. It is the custom in Spain to take the name of one’s father and one’s mother. The name of Picasso’s father was Ruiz, the name of his mother was Picasso, in the Spanish way he was Pablo Picasso y Ruiz and some of his early canvases were signed Pablo Ruiz but of course Pablo Picasso was the better name, Pablo Picasso y Ruiz was too long a name to use as a signature and he commenced almost at once to sign his canvases Pablo Picasso.
The name Picasso is of Italian origin, probably originally they came from Genoa and the Picasso family went to Spain by way of Palma de Mallorca. His mother’s family were silversmiths. Physically his mother like Picasso is small and robust with a vigorous body, dark-skinned, straight not very fine nearly black hair, on the other hand Picasso always used to say his father was like an Englishman of which both Picasso and his father were proud, tall and with reddish hair and with almost an English way of imposing himself:
The only children in the family were Picasso and his younger sister. He made when he was fifteen years old oil portraits of her, very finished and painted like a born painter.
Picasso was born in Malaga the 25th of October 1881 but he was educated almost entirely in Barcelona where his father until almost the end of his life was professor of painting at the academy of Fine Arts and where he lived until his death, his mother continued living there with his sister. She has just died there.
Well then, Picasso at nineteen years of age was in Paris where, except for very rare and short visits to Spain, he has lived all his life.
He was in Paris.
His friends in Paris were writers rather than painters, why have painters for friends when he could paint as he could paint.
It was obvious that he did not need to have painters in his daily life and this was true all his life.
He needed ideas, anybody does, but not ideas for painting, no, he had to know those who were interested in ideas, but as to knowing how to paint he was born knowing all of that.
So in the beginning he knew intimately Max Jacob and at once afterwards Guillaume Apolliniaire and André Salmon, and later he knew me and much later Jean Cocteau and still later the Surréalistes, this is his literary history. His intimates amongst the painters, and this was later, much later than Max Jacob and than Guillaume Apollinaire and than André Salmon and than I, were Braque and Derain, they both had their literary side and it was this literary side that was the reason for their friendship with Picasso.
The literary ideas of a painter are not at all the same ideas as the literary ideas of a writer. The egotism of a painter is entirely a different egotism than the egotism of a writer.
The painter does not conceive himself as existing in himself, he conceives himself as a reflection of the objects he has put into his pictures and he lives in the reflections of his pictures, a writer, a serious writer, conceives himself as existing by and in himself, he does not at all live in the reflection of his books, to write he must first of all exist in himself, but for a painter to be able to paint, the painting must first of all be done, therefore the egotism of a painter is not at all the egotism of a writer, and this is why Picasso who was a man who only expressed himself in painting had only writers as friends.
In Paris the contemporary painters had little effect upon him but all the painting he could see of the very recent past profoundly touched him.
hors concoursvernissage