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How Picasso who called all women goddesses or doormats drove his lovers to despair and even suicide with his cruelty and betrayal. By. Annabel Venning for Mail.
Online. Updated. 1. GMT, 7 March 2. 01. Even in his 7. 0s, Pablo Picasso’s sexual appetite was irrepressible, though his seduction technique was unusual to say the least. If a pretty young girl caught his eye, he would present her with a gold figurine of a little man with a huge phallus. It was a sign he wanted to sleep with her. And he would give these gifts right under the nose of his second wife, Jacqueline. She would immediately ban the woman from their home, but her furious jealousy did little to deter the artist.
Fidelity was simply not in his nature. He had scores, perhaps hundreds, of lovers. The extraordinary energy he devoted to his paintings and sculptures — he created some 2. Passion: Picasso with lover Dora who once told him: 'As an artist you may be extraordinary, but morally speaking you are worthless.'A new exhibition at Tate Britain of the work of Pablo Picasso, perhaps the world’s greatest modern artist — co- founder of the Cubist movement, painter, sculptor and ceramicist — reveals the impact these women, particularly his eight long- term lovers, had upon his work, and the price they paid for having been Picasso’s muse.
Two were driven to mental breakdowns and two committed suicide. Picasso was a man of many contradictions: often kindly and sensitive, he could also be selfish, tyrannical and domineering. As one of his biographers, Patrick O’Brian, observed: . In fact, his main requirements of a mistress were that she should be both submissive and shorter than him — a somewhat stringent stipulation given that Picasso was a mere 5ft 4in.
He resented his dependence on women, however, and so tried to overcome it by dominating them, often to the point of cruelty. He famously informed one of his mistresses: . Pablo Picasso was born in 1. Malaga, Spain. The young Pablo followed his father’s example, losing his virginity at the age of 1. Pablo Picasso pictured with his second wife Jacqueline Picasso.
Picasso was a man of many contradictions: often kindly and sensitive, he could also be selfish, tyrannical and domineering. The idea that women existed largely for his convenience and pleasure permeated not just his life but his work. Les Demoiselles d’Avignon, his famous paintings of five naked prostitutes, one squatting in a pornographic manner, is often cited as evidence of his contempt for the opposite sex. Yet he adored his mother, eventually taking her maiden name, Picasso, instead of his father’s surname, Ruiz. The family were short of money for much of Picasso’s childhood, and this poverty etched itself on Picasso’s heart. In later life, he was generous to a fault, but he hated to be preyed upon by those keen to exploit his growing fortune. After art school in Madrid, he left Spain for Paris in 1.
Spanish painters. One of them fell in love with a girl named Germaine, but, being impotent, was unable to consummate his love. The tragedy precipitated Picasso’s Blue Period as he poured his grief for his friend into a series of melancholy canvases.
For a time, Picasso moved between Paris, Madrid and Barcelona, where he became obsessed with a striptease artist, drawing a series of delicate, explicit nudes of her that were never displayed. By 1. 90. 4, he had settled permanently in Paris, taking a studio in a rundown building on the Seine. It was here that he met Fernande Olivier, an artists’ model who had striking red hair, almond eyes and a voluptuous figure. Picasso was entranced by this beautiful, liberated woman. Hitherto he had met only pious Spanish ladies or prostitutes. Fernande, meanwhile, was magnetised by his dark, compelling eyes and incredible vitality, which made up for his short stature and far- from- handsome features.
She moved into his squalid little studio. This signalled the end of his Blue Period and the start of his Rose Period as he painted her sensuous pink body on canvas after canvas. Fernande was gloriously lazy, so Picasso was forced to do all the housework, a contrast with his later relationships in which his mistresses tended to his domestic needs. Years later, he pointed to the dingy building saying: .
He now had patrons — wealthy American art collectors Gertrude and Leo Stein — and his work was being exhibited. But Fernande was becoming irritated by his intense possessiveness. In 1. 91. 2, she left him for an Italian painter. Picasso retaliated by taking up with one of her friends, Marcelle Humbert, a frail, slender young woman whom he called Eva. Their love affair was intense, but Picasso’s passion did not preclude dalliances with other women. Picasso and Jacqueline.
To women in particular he had an almost schizophrenic attitude. When Eva contracted tuberculosis in 1. Gaby, depicting her in a series of intimate paintings and sketches.
After Eva’s death in 1. Eventually, he was shaken out of his misery by the poet Jean Cocteau, who persuaded Picasso to paint the scenery for a ballet. So Picasso left war- torn France for Rome, where the Ballets Russes was touring. He soon fell in love with one of the ballerinas, a Russian girl named Olga Koklova. Inflamed by her lithe body and her aloofness — she refused to succumb to his advances — Picasso was determined to possess her. She eventually weakened and became his mistress, and in 1. They set up home in Paris and the marriage was happy at first, despite their differences.
Picasso was Bohemian, unconventional and indifferent to social status. Olga was bourgeois, a social climber and pathologically jealous. She bore him a son, Paulo, whom Picasso adored. The birth provided a catalyst for a series of tender paintings — called Maternit. Picasso was now wealthy enough to employ servants, and Olga found she had nothing to do.
Bored, unfulfilled and bitter at the loss of her career, she had, said one of Picasso’s friends, . A more likely explanation was that her husband’s serial infidelities had driven her to the verge of a nervous breakdown. A woman looks at an artwork entitled The Man with the Hands in His Pockets, by Picasso in an exhibition at the Picasso Museum in Barcelona. Picasso’s paintings soon began to be filled with grotesque, distorted- looking women. Baigneuse Assise Au Bord De La Mer depicts a monstrous female figure seated like a preying mantis with huge toothy jaws.
He soon found a means of escape from Olga’s clutches. In 1. 92. 7, he met a beautiful blonde girl, Marie- Th. Within a week they had become lovers, although at just 1. Apart from his second wife, she was the most enduring love of his life, perhaps the only woman who made him truly happy. Intelligent but not intellectual, she was submissive and tolerant.
She put up with his need for other women because she knew that he loved her best. In 1. 92. 8, he took his family on holiday to the fashionable seaside resort of Dinard and arranged for Marie- Th. Every morning, leaving his wife and son, he and his young lover would entertain each other in a nearby beach hut. Years later, Marie- Th. But Picasso’s paintings of her, while highly sensual, are suffused with a tenderness absent from his paintings of other women.
Unable to bear her husband’s infidelities any more, Olga took their son and left the artist to live in the South of France. In 1. 92. 7 Picasso met Marie- Th.
He was overjoyed, yet his happiness with his lover did not deter him from plunging into another affair, with a half- Yugoslavian, half- French photographer, Dora Maar. Intellectual, gifted and beautiful, at 2.
For a while, he managed to keep his two young mistresses apart. Then one day they met by accident in his studio. He later described the ensuing scene. Which one of us goes?” I was satisfied with things as they were. I told them they’d have to fight it out for themselves.
So they began to wrestle. It’s one of my choicest memories.’He immortalised the moment in a painting. Birds In A Cage, in which a black dove (Dora) fights with a beautiful. Marie- Th. Dora moved in with. Picasso and he installed Marie- Th.
Dora Maar was an intellectual equal and collaborator — she photographed his famous painting of the Spanish Civil War, Guernica — but one woman was never enough. Only a harem would have satisfied Picasso. In 1. 94. 3, with Paris under Nazi occupation, he saw two pretty young girls in a caf. One of the two, 2. Fran. He wooed her for months before she finally surrendered her virginity to him. When Dora heard about this new affair, she was shattered.
Ignoring her distress, Picasso packed her off to a nearby apartment, where she would wait by the telephone for the . Perhaps unsurprisingly, in 1. Picasso sent her to a nursing home to recover and Fran.
Dora Maar never took another lover, famously pronouncing: . They spent much of their time in the Mediterranean resort of Antibes, but their happiness was marred by the frequent appearances of his rejected wife, Olga, who had settled nearby. By now mentally unstable, and apparently unable to accept Picasso’s adultery, she would burst into his home and attack Fran. Picasso was delighted, but Fran. She hated the philandering he still refused.
Picasso. that he contemplated suicide. Salvation — for him at least — came, once. He was now 7. 0, she 2.
Since he was by now an international celebrity, he had to keep the affair secret to avoid scandal, yet it all came to nothing after she left him in 1. A heartbroken Picasso hung around nightclubs on the Cote d’Azur hoping to find her. Wretched with rejection, Picasso buried himself in his work. One of his favourite models was Jacqueline Roque, an exotic- looking 2. Jacqueline Roque worshipped Picasso when she first met him as a 2.
He went on to marry her in 1. She called him her . At first he was indifferent, but they soon became lovers. In 1. 96. 1, he married her — first wife Olga had died of cancer in 1. During his 2. 0 years with Jacqueline, he painted more than 4. It was a period of intense creativity — but at the expense, some thought, of his happiness.