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  • Stein On Picasso

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    Essay by Gertrude Stein on Picasso

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    Stein on Picasso

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    Essay by Gertrude Stein on Picasso

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    Stein On Picasso

    Загружено:

    siegfriedstarkgmail
    Essay by Gertrude Stein on Picasso

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    из 62
    /PICASSO/ By GERTRUDE STEIN 1 STILLLIFE, "MA JOLIE (Hh DOVER PUBLICATIONS, INC. ‘New York PAR tgpublcsion ofthe work cugely poblohed by Be Bitferd Ta London, ny, Pts 2, 8,25 29,34 and % Selma reproduced ncn, hee eed Sick ‘Manutctred in he Ue States of Amaia Dore Publications, Iney 3 Bat and See Mine, N.Y Library of Congreu Cataloging in Publication Dats epi Originally pubabed: London B.7: Bard 38 Iasi 1 Piensa abl. 84973. Take NDssiPa8h 98s no4 sso ISBN eateries (pbk) LIST OF ILLUSTRATIONS Thlpaye SELF PORTRAIT: Dawing pei LINES AND STARS: Drawing in Pure Callgraphy (093). Cal Rosehg STILL-LFE, “MA JOLIE" (914). Col, And Lee [IES PAUVRES: Water Clos (1). Gall Gade Sin GIRL WITH BARE FEET (169s). Coll Rownbey HARLEQUIN AND MATCHES (get). Coll Resmi IN THE CAFE: Toulome-Lates Paid (150) MOTHER AND CHILD: Blo Prod (Summer, 502) WOMEN AT A BAR: Ble Period (1:0). Coll Chysr NUDE: Chacel Dawiog (193) UES PAUVRES AU BORD DE LA MER: Blue Prod (Sumer, 193). Cal. Gale Sioa 10 TA FILLETTE SUR LA BOULE: Rote Peiod (Astana, to24) Cal. Gale Sin 3 TA FAMILLE D'AREEQUIN. AU SINGE: Rowe Period {spring 904). Call. Galo Sine 12 JEUNE GARGON AU CHEVAL (Winer, 190). Call Gaere Sinoe 33, HEAD OF A WOMAN: Modded Plc (100) 14 HEAD OF A MAN (Spring 1907) Coll Gali Sinan 14 PORTRAIT OF GUILLAUME APOLLINAIRE ("Celoxe Physgae"): Tak Drawing (98) 16 LES DEMOISELLES D'AVIGNON (to). Coll Seligman 17 TWO NUDE WOMEN (Sptog, 1908), Coll Galore Simon 4s Ps 4 as 6 a LIST OF ILLUSTRATIONS (contd) [FRUIT AND GLASS: Gouache (is) STILLLME WITH FIGS: Geese Petiod (105) WOMAN WITH GUITAR (19:5). Coll Glee Sino ‘ALITTEE GIRL WITH A BASKET OF FLOWERS: Rowe tid (ios). Cll. Gre Sin PORTRAIT OF MISS GERTRUDE STEIN (t526). Coll, (Gea Sin VILLAGE NEAR TARRAGONA (159) WOOD ENGRAVINGS (1305) ‘THE VIOUN: Chatcs! Deawig 1912) STILL-LIFE WITH GLASS (Sping, s912). Coll Gale ‘Si YORTRAE OF MENRY KARNWELER (tn, ‘Call. Galerie Simon HEAD OF A WOMAN (rn). Coll. Garin Sa ‘AU BON MARCHA": Oiband Co Paper (pg ot Galt Smee caine HOMME AU LIVRE: Compson in Cot Piper (1912) NATURE MORTE AUX LETTRES RUSSES (1:4) “PARADE” : Pico and his Anant prepsing the Sorcry 929 Ph Reb Cf hla, Vc TA BOUTRILLE DE MARASQUIN (ipt4) Coll. Germae ‘Sin 3). STILL-LE WITH VIOLIN (192). Call Rowen ‘TWO NUDES WITH DRAPERY (ssa) Cull Rewaheg ‘THE BATHERS (1a), Gil. Rwmle LA SOURCE (igs). Coll Restos ‘A BOTTLE OF WINE (1p), Goll Gale Sino STILLUE IN OPPOSING COLOURS (522) ColL Roabeg « “ a Py * 3 a 8s 6 “ LST OF ILLUSTRATIONS (contd) vil ‘THE WHITEHORSE INTHERING (92). Coll Rueeg PORTRAIT OF MADAME PICASSO (193). Coll Row: tee PORTRAIT OF MADAME PICASSO (193). ie [DEUX FEMMES CALLIGRAPHEES (1p). Call Ree Cll Reser HEAD OF A MAN: Drawing in Chalk and Cut ape. Call Gale Sine SETTING FOR “ MERCURE" (19). Coll Waly ‘TORSO: Ink Drawing (1906) TTA DANSE (12s). Call Rember, STILLLUFE WITH STARS (1525) Coll Galerie Simon STULL-LIFE WITH NAMS (is). ll Gale Simon PORTRAIT OF THE ARTISI'S SON (1927 Colt “Gale Simon FEMME AU SOURIRE (to39). Coll Glee Snot SURREALIST DRAWING (193). Gill Giri Sram DRAWING, “LA BELLE QUI PASSE” (190s) LANDSCAPE (1337) LA FEMME QUI PLEURE (151) TEA FEMME AU FICHU (1938) WOMAN WITH LONG HAIR (1938) PICASSO : From: Photgeph by Cel Bexon GERTRUDE STEIN: From Photoguph by Cel Beton STILL-LIEE WITH GRAPES (138). Iaihe Anis Sms Bie Alte iets ena fom Oi Plating nes heros PICASSO Parw 7210 in che ninetenth cenary wat only done in France and by Frenchmen, apar from th, puatng did not cain inthe twentieth century it was done in France but by "in che nineteenth century painters discovered the need of _ sways baving a mela Rant diese. enti Tale Lament: vey wel wat berween 3904-4908, len people were forced by.us ory chemelves tp look at drawings shat the-frst and most astonishing thing deol re rae enone ay _ ching changer bornorwithour x rest ‘came to Paris, that was in 1900 ito a world of painters who ad completely leamed everything they could fiom seeing at what chey vere looking. From Seurat to Courber they were all of them looking with chir eyes and Searat’s eyes then began to tremble at what his eyes were seeing, he commenced to doube if in looking he could see. -Matixe too began to was very gay, it was che peviod of the Ma Jolie picture, ic was che period of all chose sill life, che ‘ables with their grey color, with thei infinite variety of greys they amused themcves in all sort of ways, they sell collected African sculprae but it influence was not any longer very marked, they collected musical intra- ments object, pipes, cables with finges, glass, nails, and ae this ime Picaso commenced to amuse himself with making pictues out of anc in, pasted paper, He did not do any sealpeure, but he made pictues with ll dese ings. ‘hee is only one lef of chose made of paper and chat he gave me one day and I had ie flamed inside a box. He liked paper, in face everyching at this time pleased him and everything was going on very lively and with an enormous salty. ‘Everything continued but there were interruptions, Picaso left Montmartre in 1912 and gaieey was over everything. continued, everything always continues but Picasso was never again so gay, the gay moment of cubism He efi Montiartce for Montparnai, fst the boulevard ‘Raspal then the rue Schoecher and finally Montrouge. ‘During all hist he did not return to Spin but dering the summer he was at Cert of at Sorgucs, the beginning. fife in Moneparase was les gay, he worked enormously ase always does. Te was a the rue Schoclcher chat he commenced to paint with Ripon paints be commenced to wwe a kind of wall paper a8 background and a small 26 Picture pained inthe middle, be commenced to we pasted piper more and more in painting hit pictres, Later he ted to say quite ofen, paper Lats quite a well a paint and aftr all fc all ages together, why not, and he aid farther, afer all later, no one will se the picture, they wil tee the legend of the picere, the legend thatthe picture ta created, chen it makes no dierence ifthe picture lasts or doesnot ast. Later they will etre i,» pitae lives by its legend, not by anything ele. He was indifferent 25 to what might happen to hit pictues even though what right happen to chem affected him profoundly, wel that isthe way ones, why not, one i ike that. Very mach later when he had had great del of sees hae suid one day, you know, your family, everbody, if you are a genius and unsuccesful, everybody teats you ‘si you were a genus, but when you come tbe succes, ‘when you commence to eam money, when you ate really seccenfl, chen your family and everybody no longer treats you lke a genius, they treat you lke a man who has become succes So suces had begun, not a great succes, but enough [At this time, he was sill atthe rue Schoclches, and Picato for the first Gime wed the Rosian alphabet in his pictures, It is to be found in afew of che procs ofthis peiod, of couse this was Jong before his contact with the Rasian’balle So Hf went on. His pioures became more and more brillant in color, mare and moze caefilly ‘worked and perfected and then cece was war, it was 1914. [Ac this period his piceres were very bilan in colo, he painted musi iasrumene and musical sign, bu che ”, cubic forms were continually being replaced by surfaces snd lines, the lines were more importne than anything dlse, they lived by and in themselves. He paineed his pictures not by means of his objects but by the lines, at this time this tendency became more and more pronounced ‘Then there was the war and ll his fiends lef to goto the ‘icaso war sll atthe rue Schoelcher, Braque and Derain ‘were mobile and at the front but Apolinare had not yet gone, be was not French so he was not called butshorly afer he did volunceer. Everybody had gone. Picasso wat alone. Apollinare’s leaving pechaps affected him the ioe, Apollinaire who wroce him all his felings in learning to become a warrior, chat was then 194 and now it was all Later he moved fiom the rue Schoelher to Montrouge and it was during this moving that the objects made of paper and zine and tin were lose and broken, Later at ‘Montrouge he vias robbed, the burglars took his linen Ie made me think of the days when all of chem were un~ know and when Picasso sid tha ie would be marvellous if a veal thief came and tole his pictures or his drawings. Friends, 9 be sure, took some of them, stole them if you like from time to time, pilfered if you lke, but + real profesional burglar, burglar by profesion, when Picsso ‘wat not completely unknown, came and prefered to taken the linen. So lirde by litle time pased. Picaso commenced ¢0 know Erik Sade and Jean Cocteau and the resule was Parade, that was the end of this period the period of real cubism, 8 1M EA BOUTEILLE DE MARASQUDS (10) Jean Cocteau left for Rome with Picasso, 1917, eo prepare Parade. Iewas the frst ime that I aw Cocteau, they came together to say good-bye, Pcasio was very gay, Hot s0 say asin the days ofthe great cubis gaiety but gay enoagh, hhe and Cocteau were gay, Pcaso was pleated to be leaving, hae had never sen lly. "He never bad enjoyed traveling, ha always wene where others already were, Piao never Ina the pleauce of initiative. Ashe used to say of himself he has a weak characte and he allowed others to make decision, that is the way itis, ie was enough that e should do his work, decisions are never important, why make them, So cubispa was'o be pue on the stage..‘That wat really the beginning of che general recognition of Pieao's work, ‘when a work is pat on the stage of course every one hat to Took at it and ina sense if is put on the wage every ‘ones forced to look and since they ate forced to look att of course, they must acept i, there is nothing ese to do. In che spring of 1917 Picaso was in Italy with Diaghelew and with Cocteau and he made the sage stings and che ~ cosmumes for Parade which is completely cubist. Ie had a ‘great succes, it was produced and accepted, of coune, from the moment ie was pat onthe stage, of cours, ie was accepted, So the great war continued but it was nearing its end, and the war of cubism, it too was commencing (0 end, no war is ever ended, ofcourse not, it only has the appearance ‘of sopping. So Picaso’s struggle continued but for the ‘moment i appeared to have been won by himself for him- selfand by him forthe world. I isan extraordinary thing bot itis re, TE of bing. cig ded caries» 2 complete change, has come about, people no Tiger think as they Were thinking bur no one knows i, no ie recognies Wt, no one realy Taio excep % ‘The others are too busy wih the busines of if they cannot feel what has happened, but the erator, the ral creator, docs nothing, he is not concemed with the activity of ‘existing, and as he is noe ative, that i to say a8 he isnot concerned with the aciviey of existence he is sensitive enough to understand how people are thinking he is not interested in knowing how they were thinking, his ensitive feeling is concemed in, understanding. hove people live as they. ars living. The sirg of everybody i changed, of a ‘whole people is changed, but mosly nobody Knows it aida" war forces them to recognise it because during a war the_ appearance. of, everything changes very sauch __guicket, But really che entire change has been accomplished ‘and the wari only something-which frees exeryhody #0 _ecognise i "The French revolution wat over when wat forced everybody to recognise it, the American revolution ‘was accomplished before the war, che war is only a publicity _28ent which make. every-one-knouwiat bas bape, 7 ‘So then the public recognises a creator who has seen the change which has been accomplished before a war and Which has been exprened by the wat, and by he war the wold is forced to recognise the entire change in everything, they are forced to look at the creator who, before any one, Knew it and expresed it. A creator isnot in advance of| ‘ig generacon, but he is. the. first of is cgapORey FO be-conscioas of what is happening cap. 30 g Fl 3 Eg 5 z 5 36 TWO NUDES WITH DRAPERY ls) is not some one who studies in a school where the roles are already known, and of course being known they no longer exist, a greatot hen, who create is nesesariy of his generion.. Hir-generation lives in its contemporary way But they only live ia it. nar, in iteratue, in the Aheate, in shore in everthing that doesnot contribute to their immediate comfort they live inthe preceding gener2- tion. eis very simple, to-day in the azees of Pars, hore, even ramcars can no longer exist but horses and camcars ae only suppresed only when they cause too many com- plications, they are supprened but sicry years too late Lord Grey suid when the war broke out that the generals thought of a war of che nineteenth century even when the instruments of war were of the cwentieth century and only when the war was at its eighth did the generals tundentand that it was a war of che twentith century and not a war of the nineteenth century. That is what the academic spice i, i is not contemporary, of course not, and 0 it can not be creative because the only thing that is ereatve in a creator isthe contemporary thing, OF ‘Ast wat saying, in che daily ving tis another thing, A fiend built a modem house and he suggested that Picsso too should have one bul. But sid Piso of course not want an old houte. Imagine, he sid, if Michael Angelo ‘would have been pleased if some one ad given him a fine Piece of Renaisance fimiture, not at all, He woold Ihave been pleased if he had been given a beautifl Greek inal, of course So that i che way ies, a creator is 3 completely con temporary that he has the appearance of being abead of is a ‘generation and to calm himself in his dally livighe wither to live ith the chins inthe dally life of the pot be toe ‘of Wil to lve as contemporary 48 the contemporaries who do not poignantly feel being contemporary. This sounds complicated but iis very simple. ‘So when the contemporaries wee frced by the wat fo, recognise cubist eben as it had been crested.by Pieato who saw a elit that was not the visio ofthe nineteenth ceasry, ich was nota igen but El which war 2 thing that was not based upon iture but opposed co marre ike th houses in Spain are opposed to the nds ike the round is opposed to cubes. Every one wag‘for the yar, which made them understand dat ‘hanged 0 other things and that they had noe stayed Sime things, they were forced then to accept Picasto, Peso recuned fiom (lly and feed by Parsi Wich bbe had just created, he atealttic painter, he even. made many portaits from model, portrais which were purely relic, is evidene that really nothing changes bar at the same time everything id rae andthe termination ofthe war gave to Ficaso in a Period of 1917 to 1920, ‘Picasso was always posesed by the necesity of emptying, himself, of emprying himself completely, of always empty= ing himself, he isso fall of ie that all his existence isthe repetition ofa complete emprying, he must empty himself, hhe cam never empry himself of being Spanieh, but he can 2 fs the see hin of what be ha ceed So everyone says ~~~ cng Boral bane, eos ele and the moment he has completed emptying himself he ‘must recommence emprying himself, he fills himself up $psin 20. auickly. ‘Twice in his life he almose emptied himeelf of being. Spanith, the frst time during his fixe real contact with aris when there came che haleguin ot rose period, 1904- 1906, the second time was his contact with the theate, that vas the realistic period which lated from 1918 to 1921. During this period he painted some very beautiful porteics, some printings and some drawings of harleguins and many other pictures, This adult rose period lasted almost chree years. ‘Bat of couse the rose period could not persist in him, He emptied himself of the rose petiod and inevitably it changed to something ele, this time Women and’ "There certainly have been two rote petiods in the life of Picasto. During the second rose period chere was almost no real cubism but there was painting which war writing ‘which had to do with the Spanish character, that i to say the Saracen character and this commenced to develop very such, Twillexplsin, In the Orient calligraphy and she art of painting and sculpeure have always been very neatly related, they resemble cach other, they help each other, they complete cach other. Saracen architecture wat decorated with 2 lee, with words in Saskia, in China che lees were something in chnuelves, But in Europe the art of calgrapy wat alway «minor at, decorated by punting, decorated by lines, bur ce arc of wring and he decoration by waltng and the decoration around writing are always aminorar. Bot for Piao, Spaniard, che at of writing, that iso say calligraphy isan art. Aer ll he Spaniards and che Rui ae he oaly Europeans who are rally 4 Tice Oriental and ths shows in the art of Peao, nota anything exotic but as rorehing quite profound Iti completly aniniltd, of course be isa Spaniard and » Spmlard ¢an anicalae the Orient without imiting he can know Arab things without being seduced, he can repeat Affian things withoo being deceived. "The only things dat realy sedce the Spears ae Latin hing, French things, ln thingy, for them the atin is exotic and seductive, i isthe things the Latins make which forthe Spaniards are arming. AS Joan Grislways ad the school of Fontainebleat was completly 2 seduction, it wat of coue completly Latin, Tnly in France So then the Taliansedacion rele fr Picanto aftr his fie vise wo Rome in bis vcond row period which com smenced in 1918 withthe port of his wife and led tml the pore of his son in arleqin conte in 1927, and all his began wih por, then the lange women, to nd wich case whieos. Tews once mote Latin eduction this time by means of Taly. Bu above alle was always and away Spain and ic wa Spain which impelled him even daring this meurainc prod to expros hina by elle raphy inks pcre, u 3 3 5 a ‘The first thing I saw chat showed this calligraphic quality in Picasso were several wood-cutt which he had made daring the harlequin period, chat fise rose period of 1004 ‘There were two birds made in a single exoke and colored with only one color. Beside these two small things 1 do ‘not remember any other things of his which were reilly calligraphic unl his last period of pure cubism, that is (0 say from 1912 t0 1917. ‘Ducing this period the cubes were no longer important, the cubes were lost. After all one must know more chan one sees and one does not see a cube in its entirety. In rou there were less cubes in cubism, each time that Picasso commenced again he recommenced the struggle to express in a picture the things seen without sstoiation bur simply s things seen and itis only the things seen chat ure knowledge for Picaso. Related things are things remembered and for 2 creator, cerainly for Spanish creator, certainly for a Spanith creator of the twentieth century, remembered things are not things seen, therefore they arenotchings known. And so then always and always Picasso commenced his atempe to express not things fle, not things remembered, not established in relations bot things which are thee, rally everything human being can know at each moment of his existence and not an swetnbling of all his experiences, So that daring all chis Iase period of pure cubism, 1914-1917, he wied t9 recom- rmence his work, at the same time he became complete smuster of is metier. Ie was che interval beeween 1954 and 1917 when his mastery of his technique became +0 complete that reached perfection, there was no longer any hesitation, now when he knew what to do he could do what be 3s ‘wanted ro do, no techaizal problem sopped him. But afer al this problem remind, how to expres not the things a seen in ssaciaon but the things relly sccm at hints pce ‘interpreted bo things really known a the time of owing them. All his lie this had been his problem bur dhe problem had become more dificult than eves, now that he was completely maser of his techigue he no longer had any real dszaction, be could no longer have the de traction of leaning, his instrament was perfected. ‘At this petiod, from 1913 to 1917, his pictures have che beauty of complete mastery. Picaso neatly did all eat he wanted to do, he poe ino his pictures nearly nothing that should not have been theze, cher were no cubes, cere were simply chins, he succeeded in only puting into them what he realy new and all hac eaded withthe voyage to Ialy and the preparation of Parade ‘Afr aly and Parade be had his second natualic petiod of which anybody could recognise the beauty and his technique which war now perfected permitted [TREE mae ‘im to create this beauty with les effort, his beauty exited iniadle 3 ADoTnE oF wow G2) These pictures have the serenity of perfect beawry but they have not the beauty of realiation. The beauty of realstion i beauy that aways takes more ime t show finelf ax beamry than pure Beatty does. The Beaty of reallston during its eration isnot bean, cis only beauty | ‘when the things that fllow ic are crete in is image Tris then thar is known a beauty on acount of ts quality of econ, is she moe ben beauty, more Besufl than che beauty of serenity, Well, Ace Italy and Parade Piano maried and in 1918 he 6 g 2 g j 3 & i : lefe Montrouge for the rue de la Botte, he stayed there ‘unl 1937 and during this time, 1919 to 1937, there exe ‘many things created, many things happened tothe painting of Piaiso, ‘Bur lee us ret eo calligraphy and ite importance in Picesio’s att Te was natoral chat the cubism of 1913 t0 1917 revealed the art of calligraphy to him, the importance of calligraphy seen a5 Orientals see it and not as Europeans see it, The contact with Russ, fis through a Rusian G, Apostrophe 4 they all called him, and later with the Russisn ballet, stimulated his feling for calligraphy which is always there in a Spaniard always since Spaniards have had for such a long time Saracen art always with thera: ‘And alto one must never forget that Spain is the only country in Europe whose landscape is not European, not a all, therfore itis natural that although Spaniards are ‘Europeans even so they are not Europeans. So in all this period of xpx3 to 1927 one ses that e took great pleasure in decorating his pictures, always with a rather calligraphic tendency than asculpeuralone, and daring the naturalist period, which followed Parade and the voyage ‘to Tely, the consolation lfered to che side of him that was Spanish was calligraphy. remember very well in 1933, he did cwo women completely in chis sprit, a very lide picture but al the raley of calligraphy wa in it, everything. ‘that he could not put into his zealsde picares was there ia the ewo ealigraphic women and they had an extraordinary vieaiey. Calligraphy, at I understand it in him had perhaps its ‘most intense moment in the décor of Mercure. That wat "7 ‘written, 10 simply writen, no painting, pare calligraphy. A lide before that he had made a series of drawings, alo purely calligraphic, the Lines were extaordiacly lines, there vere alo stars that were stars which moved, they existed, they were relly cub, that ito say a ching that existed in self without the ad of sociation or emodon, Daring all his time che relic period was commencing to approach its end, fist cere bad been portris which ended with karlequins, fr once Picasso had almost wished to look at models. The natural painting changed 0 telagenones scitkinoneondederscindewa, eat def meme nd Une ye ee omnes ay alparagie 1 ep Ro ‘emptied himself of ly. That isis way. Daring the year 1923 his pleaur in drawing ws enoc- mous, he almost repeated the fecondty and th happiness of his fis rose period, everything was in rove. ‘That ended in 123. Te was at this time thar he” casigpeiod

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