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I was 23 when my father passed away.

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And I found out through the radio.

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IN FRENCH:

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It was a shock to hear it
on the radio,

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but I was not surprised.

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Many things in the Picasso family
happens in public.

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NEWS: Picasso -

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who did things no man had ever
done before with brush and canvas.

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OVERLAPPING NEWS REPORTS

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Greatest artistic genius
of the 20th century.

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My grandfather,
the day he was buried,

12
00:01:12,200 --> 00:01:13,760
well, it started snowing...

13
00:01:15,160 --> 00:01:19,840
..as if a mythical figure
had suddenly passed away.

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I hadn't seen my father for years.

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We thought maybe we could go
into the house or see him,

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but we were not...allowed.

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Because of that situation,

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my half-brother commit suicide.

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It was very, very tragic.

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There was a lot of confusion.

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Picasso was not the faithful man.

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He had wives, mistresses, lovers.

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He was really afraid of death,

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and so he would have never
made a will.

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And he didn't.

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You can tell somebody's life
through the pictures that they made.

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There really is a diary.

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His work, it'll be around until the
planet blows up, or whatever.

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Picasso had a strong gaze,

30
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which is a southern Spanish idea -

31
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that the eyes are where the soul is.

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Every time he paints,
emotional truth is always there,

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abhorrent at times or not.

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That's what gives his work
such incredible power.

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There is always that sense
of underlying violence

36
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and that violence, it's life.

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The brutalisation of women is
part of the imagery.

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It would be too easy to say
that all those women

39
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were like victims.

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Everyone knew that it was not

41
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an ordinary world they were
entering.

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Picasso is a man of contradictions.

43
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He can be tender, he can be cruel.

44
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You can't just say, you know,
he's a monster or he's a genius.

45
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He's just a man.

46
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With my grandfather,
it started very early.

47
00:04:03,400 --> 00:04:05,920
Pablo as a child was
a little genius.

48
00:04:07,840 --> 00:04:09,920
I think from day one, he was given,

49
00:04:09,920 --> 00:04:11,960
like, a super talent.

50
00:04:14,360 --> 00:04:18,760
My father was so gifted
at such an early age

51
00:04:18,760 --> 00:04:22,600
because, in part, his father
was a painter and...

52
00:04:22,600 --> 00:04:24,640
..and actually a teacher.

53
00:04:27,320 --> 00:04:32,520
Picasso's father thought Picasso
had to draw, and he realised his son

54
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was unusual
in his skills and talents.

55
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Picasso and his family came
to Barcelona

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so his father could teach art there.

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Picasso, as a 14-year-old, enrolled

58
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in the college where his
father was teaching,

59
00:04:56,960 --> 00:04:59,080
but it wasn't as though
he was the lonely,

60
00:04:59,080 --> 00:05:01,960
prodigious talent wandering the
streets with his notebooks.

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He was with his friends,

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many of whom were older than he was,

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all of whom wanted to be painters.

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It was very much a group
of handsome, ambitious young men

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who were all interested
in each other's work.

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Barcelona was a hotbed
of dissent and radicalism.

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We are going to paint paintings
to disturb you.

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Let's get tradition and see
what we can do

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to sort of wring its neck.

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This is young men having fun,

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and there were a lot of young
women around them.

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They used women as models,
as lovers, as muses.

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It was not acceptable for women

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to be sexually active

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before or outside marriage,

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so young men were, in many cases,

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encouraged to seek
sexual relations elsewhere.

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Certainly, in that area of
Barcelona,

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there would have been
a huge number of prostitutes,

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but the whole idea of the male
moving between being fed and

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clothed and washed by a group of
women to a brothel on a Saturday,

82
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that was part of the system.

83
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And that was the culture
he grew up in.

84
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Of course, it would have

85
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made an impression on how he was

86
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going to treat women all his life.

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The key to understanding
Picasso and his art

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is understanding his
relationships with women.

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Someone later asked him, you know,
"When did you have sex first?"

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Picasso just went...

91
00:07:05,920 --> 00:07:07,840
..meaning very young.

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TRANSLATED:

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I don't think we can judge Picasso

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on our standards today

95
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because he would have grown up
in a very macho culture.

96
00:09:07,240 --> 00:09:11,080
You need to keep in mind
he was from Andalusia,

97
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where the traditions of the corrida
is very important.

98
00:09:17,160 --> 00:09:21,760
The corrida, or bullfighting,
was at the heart of the lives

99
00:09:21,760 --> 00:09:24,920
of many people in Spain at the time.

100
00:09:29,320 --> 00:09:31,560
The spectacle of the bullfight -

101
00:09:31,560 --> 00:09:36,080
machismo, violence, costume,
beauty, death.

102
00:09:36,080 --> 00:09:38,880
He's attracted to
that sort of high drama.

103
00:09:40,800 --> 00:09:47,560
Picasso's father was highly
interested in the bullfight,

104
00:09:47,560 --> 00:09:49,920
and that's how Picasso's

105
00:09:49,920 --> 00:09:53,680
lifelong love affair
with bullfighting came about.

106
00:10:09,640 --> 00:10:11,680
One of his first drawings

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00:10:11,680 --> 00:10:17,160
was that of the male world
of the corrida.

108
00:10:20,160 --> 00:10:24,960
Picasso - he was a keen observer.

109
00:10:24,960 --> 00:10:29,360
He understood how the bull behaved

110
00:10:29,360 --> 00:10:33,840
because he studied them
intimately...

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..comparable to how a bullfighter
might know a bull.

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Picasso was brought up
in a house where,

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in order to impress
your parents most,

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it was your drawing that did that.

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In his household, that was the
coinage, in a way,

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that was the language of love.

117
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From very early on, he made

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a number of magisterial
genre paintings.

119
00:11:08,800 --> 00:11:13,600
You can see what an extraordinary
gift he had for shade, for light,

120
00:11:13,600 --> 00:11:15,480
for face, for drama.

121
00:11:19,360 --> 00:11:22,560
The subject matter was decided
by his father.

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They were traditional pieces,

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the type of commissions that
he needed in order to

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have a livelihood.

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00:11:35,320 --> 00:11:41,240
Picasso's father was not
a successful artist at all.

126
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On the contrary, he was highly
unsuccessful.

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Had his father been one of the most
famous painters of the age,

128
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it would have been quite difficult
to become who he became.

129
00:11:55,480 --> 00:11:59,360
Picasso outdid his father
from a very early age.

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00:11:59,360 --> 00:12:01,840
If you go into the
Picasso Museum in Barcelona,

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you can see these notebooks,

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and the working
with his father's face,

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00:12:06,640 --> 00:12:10,600
which is thinner than his own face,
looks oddly sickly.

134
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There's a sort of fear in the eyes.

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It isn't a son drawing his father as
a strong figure in his world,

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but as someone who seems to be

137
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ailing or seems to be weakened.

138
00:12:24,800 --> 00:12:26,640
There's something
Oedipal suggesting,

139
00:12:26,640 --> 00:12:28,360
"By drawing him in this way,

140
00:12:28,360 --> 00:12:30,080
"I'm actually weakening him further

141
00:12:30,080 --> 00:12:32,440
"so I can be the one
with the strength."

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00:12:35,120 --> 00:12:39,280
When you're growing up, you look
to your father as some sort of god.

143
00:12:42,760 --> 00:12:45,800
He probably thought he was
all conquering because

144
00:12:45,800 --> 00:12:49,080
he could draw better than
his father at such a young age.

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That probably would
have instilled in him

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00:12:56,200 --> 00:12:59,640
a feeling that he was
above other human beings

147
00:12:59,640 --> 00:13:02,880
and more worthy and more valuable
than other human beings.

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00:13:18,560 --> 00:13:22,760
In October 1900,
Picasso will turn 19,

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and he wants to be where
the action is.

150
00:13:25,800 --> 00:13:28,080
Paris is the centre of
the art world.

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00:13:28,080 --> 00:13:31,560
Paris is a metropolis of
the 20th century.

152
00:13:40,480 --> 00:13:45,160
So this is a young man who arrives
in Paris convinced of his genius

153
00:13:45,160 --> 00:13:48,120
and convinced he has to go
to the centre of the art world.

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But he was not given the red carpet.

155
00:13:55,440 --> 00:13:57,360
He was given the back door.

156
00:13:59,080 --> 00:14:02,800
When Picasso arrives in Paris,
he lived in Montmartre,

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which was for the people
who couldn't afford living in Paris.

158
00:14:06,320 --> 00:14:08,840
And it was dangerous.

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00:14:08,840 --> 00:14:10,840
People were carrying guns.

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00:14:10,840 --> 00:14:14,400
You know, people could be killed
every day in fight.

161
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So it was really a slum.

162
00:14:17,560 --> 00:14:20,720
And Picasso for a long time
couldn't even pay

163
00:14:20,720 --> 00:14:24,400
for his coal to heat himself.

164
00:14:24,400 --> 00:14:27,760
Nevertheless,
he is extremely gifted,

165
00:14:27,760 --> 00:14:31,120
so much so that
he's invited, in 1901,

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00:14:31,120 --> 00:14:34,880
to give his first big show
at a very well-known gallery

167
00:14:34,880 --> 00:14:36,360
called La Galerie Vollard,

168
00:14:36,360 --> 00:14:40,920
and he produces 64 paintings,
working extremely hard.

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00:14:47,360 --> 00:14:49,440
Picasso's first exhibition in Paris,

170
00:14:49,440 --> 00:14:52,120
he paints lots and lots of pictures
that he thinks are going to be

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00:14:52,120 --> 00:14:54,880
very, very popular
and very, very commercial.

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00:14:54,880 --> 00:14:56,320
There's a reason for that.

173
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It's because he's young
and he's poor

174
00:14:58,280 --> 00:15:01,040
and he needs to support himself.

175
00:15:01,040 --> 00:15:03,600
The critics of that exhibition
say, you know,

176
00:15:03,600 --> 00:15:07,680
"Who is this impetuous,
mercurial guy

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00:15:07,680 --> 00:15:11,000
"adopting of other painters' style

178
00:15:11,000 --> 00:15:13,440
"and compositions,
and making them his own?"

179
00:15:27,280 --> 00:15:31,520
Picasso spent his life copying
old masters or people he loved,

180
00:15:31,520 --> 00:15:34,000
like a schoolboy.

181
00:15:34,000 --> 00:15:36,200
But there is this great line
where he said,

182
00:15:36,200 --> 00:15:40,120
"Bad artists copy, and the great
artists, they steal."

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00:15:40,120 --> 00:15:43,480
It's undeniable that
Toulouse-Lautrec

184
00:15:43,480 --> 00:15:45,640
had a huge effect on him,

185
00:15:45,640 --> 00:15:48,520
That Van Gogh
had a huge effect on him.

186
00:15:48,520 --> 00:15:51,720
And there's this continuum
in painting

187
00:15:51,720 --> 00:15:55,440
where it's a note passed
from one painter to the next.

188
00:15:55,440 --> 00:15:57,960
What to paint and how to paint.

189
00:16:06,280 --> 00:16:09,320
He's with a band of
Catalan artists in Paris.

190
00:16:09,320 --> 00:16:13,640
In Barcelona, he had quite
a position amongst his friends,

191
00:16:13,640 --> 00:16:16,840
but outside of Barcelona
they are not full of success.

192
00:16:16,840 --> 00:16:18,960
They are poor and young
and struggling.

193
00:16:25,760 --> 00:16:28,640
Among these friends,
there's a Catalan painter

194
00:16:28,640 --> 00:16:30,280
called Carles Casagemas.

195
00:16:32,560 --> 00:16:35,720
The friendship between them
was very intense.

196
00:16:35,720 --> 00:16:40,840
Being artists together, drinking
and hanging out at night,

197
00:16:40,840 --> 00:16:43,880
they always managed to have
interesting evenings.

198
00:16:43,880 --> 00:16:46,920
In other words, the work was done,
the galleries, all that was done,

199
00:16:46,920 --> 00:16:49,280
and then at night,
the bars and the women.

200
00:16:51,240 --> 00:16:53,720
Casagemas is besotted
with a young woman

201
00:16:53,720 --> 00:16:55,600
who's very beautiful,
who's called Germaine.

202
00:17:01,760 --> 00:17:03,800
Love leads to disappointment

203
00:17:03,800 --> 00:17:05,640
and Casagemas being rejected.

204
00:17:07,960 --> 00:17:10,360
In a very dramatic scene,

205
00:17:10,360 --> 00:17:12,960
Casagemas attempted
to shoot Germaine.

206
00:17:14,840 --> 00:17:17,440
And he ended up shooting himself.
And he died.

207
00:17:28,640 --> 00:17:32,400
This made a huge mark
on Pablo Picasso.

208
00:17:32,400 --> 00:17:36,280
It was, of course, very difficult
for him to lose his...

209
00:17:36,280 --> 00:17:38,600
..his close friend,

210
00:17:38,600 --> 00:17:41,240
and that's when it started,
his Blue Period.

211
00:17:46,640 --> 00:17:50,120
We call it the Blue Period because
of the blue tones in his paintings

212
00:17:50,120 --> 00:17:54,680
and also, of course, the sadness
that they evoke.

213
00:17:57,080 --> 00:18:00,880
The Blue Period is a period
where my grandfather was sharing

214
00:18:00,880 --> 00:18:02,920
on the canvas his problems,

215
00:18:02,920 --> 00:18:04,840
his psychological problems,

216
00:18:04,840 --> 00:18:08,080
his financial problems,
his perception of the world.

217
00:18:12,120 --> 00:18:14,960
It wasn't just
the death of Casagemas.

218
00:18:14,960 --> 00:18:18,560
It's known that that was
the depressive time in his life.

219
00:18:22,560 --> 00:18:25,000
When you're an artist,
the early years are tough.

220
00:18:25,000 --> 00:18:29,360
I mean, even if you're getting
some notoriety on your showing,

221
00:18:29,360 --> 00:18:30,880
it's tough.

222
00:18:33,120 --> 00:18:36,520
And so I think that
channels into the work.

223
00:18:36,520 --> 00:18:40,800
It's those universal themes
of poverty...

224
00:18:42,160 --> 00:18:43,440
..loneliness...

225
00:18:46,560 --> 00:18:48,440
..urban life.

226
00:18:48,440 --> 00:18:50,280
They're very urban, those pictures.

227
00:18:56,200 --> 00:18:58,600
When you work in a studio
and you work in a studio at night

228
00:18:58,600 --> 00:18:59,920
and you're in a city...

229
00:18:59,920 --> 00:19:01,760
I mean, the people I see every night

230
00:19:01,760 --> 00:19:03,880
are homeless people, drunks,

231
00:19:03,880 --> 00:19:06,400
musicians on the street
with a guitar,

232
00:19:06,400 --> 00:19:09,080
the sort of down-and-outs
of society.

233
00:19:09,080 --> 00:19:11,440
That's who you see.

234
00:19:11,440 --> 00:19:15,560
I think he obviously had an empathy
to that level of vulnerability.

235
00:19:15,560 --> 00:19:19,040
You can see that in
the blind woman, La Celestina.

236
00:19:19,040 --> 00:19:21,120
So that painting kind of hooked me.

237
00:19:21,120 --> 00:19:26,160
And when you're an artist
that is constantly observing,

238
00:19:26,160 --> 00:19:30,280
somebody who's blind seems
to exhibit this other sense,

239
00:19:30,280 --> 00:19:32,840
you know, especially if
you're a figurative painter,

240
00:19:32,840 --> 00:19:35,080
that paints eyes
and the light within eyes,

241
00:19:35,080 --> 00:19:39,000
when you come across another type
of eye, it's very exciting.

242
00:19:48,120 --> 00:19:51,400
Picasso was living in
the Bateau-Lavoir, which is

243
00:19:51,400 --> 00:19:55,400
a dilapidated building in Montmartre

244
00:19:55,400 --> 00:19:58,120
filled with artists
and artistic types.

245
00:19:58,120 --> 00:20:00,000
Full of life, full of squalor.

246
00:20:01,880 --> 00:20:05,200
It is damp, it is dank,
and it is very hot in the summer,

247
00:20:05,200 --> 00:20:07,080
and in the winter it is
freezing cold.

248
00:20:07,080 --> 00:20:10,400
The floorboards are rotting.

249
00:20:10,400 --> 00:20:12,880
There's one sink for all
the residents -

250
00:20:12,880 --> 00:20:16,680
it's in the hallway - and there's
a toilet for everybody to share.

251
00:20:16,680 --> 00:20:21,640
So this is not some kind
of dressed-up ideal of Bohemia.

252
00:20:21,640 --> 00:20:23,280
This is the real thing.

253
00:20:26,040 --> 00:20:28,920
And it's where Picasso meets
Fernande Olivier.

254
00:20:34,120 --> 00:20:36,720
I've mentioned the Spanish painter.

255
00:20:36,720 --> 00:20:39,000
He lives in our building.

256
00:20:39,000 --> 00:20:40,400
Well, for some time now,

257
00:20:40,400 --> 00:20:43,000
I've been bumping into him
wherever I go.

258
00:20:44,480 --> 00:20:47,800
He looks at me
with his huge, deep eyes,

259
00:20:47,800 --> 00:20:51,120
sharp but brooding,
full of suppressed fire.

260
00:20:54,040 --> 00:20:57,040
I don't find him particularly
attractive,

261
00:20:57,040 --> 00:21:01,680
but his strangely intense gaze
forces me to look at him in return.

262
00:21:06,920 --> 00:21:10,520
Fernande Olivier is born in the same
year as Picasso, in 1881.

263
00:21:13,480 --> 00:21:16,920
She becomes an artists' model,
and she is in high demand

264
00:21:16,920 --> 00:21:20,920
to pose for various painters
and sculptors.

265
00:21:20,920 --> 00:21:25,080
This is a young woman who knows
that she's desirable.

266
00:21:25,080 --> 00:21:28,840
She was a catch,
because she was this very

267
00:21:28,840 --> 00:21:31,320
interesting model, very beautiful.

268
00:21:31,320 --> 00:21:33,880
She posed for so many artists.

269
00:21:37,240 --> 00:21:38,760
And she was very lively.

270
00:21:38,760 --> 00:21:40,960
She liked to talk with people,
liked to go out.

271
00:21:45,800 --> 00:21:49,560
TRANSLATION: One day Picasso
was coming home from lunch.

272
00:21:49,560 --> 00:21:53,920
He had a tiny cat in his hands,
and to start a conversation -

273
00:21:53,920 --> 00:21:56,520
he had never dared to speak
to me before -

274
00:21:56,520 --> 00:21:59,360
he said to me, "Would you like it?"

275
00:21:59,360 --> 00:22:02,120
So I said, "Yes, I would."

276
00:22:02,120 --> 00:22:05,640
And he let me into his studio
and he showed me his paintings.

277
00:22:07,920 --> 00:22:10,000
Picasso and Fernande fell in love.

278
00:22:10,000 --> 00:22:12,000
They had a real love story.

279
00:22:18,920 --> 00:22:22,120
Picasso is sweet, intelligent,

280
00:22:22,120 --> 00:22:24,840
very dedicated to his art.

281
00:22:24,840 --> 00:22:27,400
And he drops everything for me.

282
00:22:27,400 --> 00:22:32,000
He's kind and gentle,
but he doesn't look after himself.

283
00:22:32,000 --> 00:22:35,680
I don't mind untidiness,
but I'm horrified by his lack

284
00:22:35,680 --> 00:22:38,120
of personal cleanliness.

285
00:22:38,120 --> 00:22:40,760
I don't dare let him sense this.

286
00:22:40,760 --> 00:22:44,600
It's a delicate matter,
but I'll get around to it.

287
00:22:46,520 --> 00:22:50,200
If I fall asleep, he's beside the
bed when I wake up,

288
00:22:50,200 --> 00:22:53,600
his eyes anxiously fixed on me.

289
00:22:53,600 --> 00:22:55,920
He's constantly doing
portraits of me.

290
00:22:58,920 --> 00:23:02,560
I really think that Fernande
was his first great love.

291
00:23:06,280 --> 00:23:09,440
Les Amants, it's such a beautiful
picture.

292
00:23:12,360 --> 00:23:15,560
It celebrates their first
night together.

293
00:23:18,280 --> 00:23:24,160
It is one of the most important love
pictures in the work of Picasso.

294
00:23:26,880 --> 00:23:31,040
It's also the starting of the
Rose Period.

295
00:23:33,280 --> 00:23:36,480
The Rose Period is marked
by the rose colours,

296
00:23:36,480 --> 00:23:42,400
but also the more joyous
experience of life, and I think

297
00:23:42,400 --> 00:23:46,400
it's greatly due to Fernande.

298
00:24:24,560 --> 00:24:26,640
Picasso, almost from
the moment he sees her,

299
00:24:26,640 --> 00:24:28,800
he's been asking her to move in
with him.

300
00:24:28,800 --> 00:24:32,320
This, for her, would require
moving simply to a different room

301
00:24:32,320 --> 00:24:34,800
in the same complex.

302
00:24:34,800 --> 00:24:37,320
And Picasso has one condition,

303
00:24:37,320 --> 00:24:39,800
and the condition is that
she stops working

304
00:24:39,800 --> 00:24:41,880
and she stops modelling.

305
00:24:41,880 --> 00:24:44,000
She cannot model
because he is jealous,

306
00:24:44,000 --> 00:24:47,280
and he does not want any other man
to have access to her,

307
00:24:47,280 --> 00:24:49,880
to be looking at her,
to be painting her.

308
00:24:49,880 --> 00:24:52,920
She will become artistically his.

309
00:24:52,920 --> 00:24:56,200
That's something that she's
understandably on the fence about,

310
00:24:56,200 --> 00:24:58,320
because she is making her money
from modelling,

311
00:24:58,320 --> 00:25:01,120
and it's not as if Picasso
has any money to offer himself.

312
00:25:01,120 --> 00:25:02,880
He is abjectly poor.

313
00:25:05,080 --> 00:25:09,520
She really doubted if
she was able to live with him.

314
00:25:09,520 --> 00:25:12,360
She said, also,

315
00:25:12,360 --> 00:25:17,720
"Why lose my independency if
I have...all this for love?"

316
00:25:19,840 --> 00:25:22,520
He is persistent,

317
00:25:22,520 --> 00:25:25,960
and she decides that
she will give up modelling.

318
00:25:27,400 --> 00:25:28,880
She's quite happy, actually.

319
00:25:28,880 --> 00:25:30,960
She writes, "Happy, so happy.

320
00:25:32,640 --> 00:25:35,600
"I'm finally at ease.
I don't have to work any more."

321
00:25:42,600 --> 00:25:46,920
They have a really vibrant
social life.

322
00:25:46,920 --> 00:25:50,360
It's amazing to think of
the people who were living in

323
00:25:50,360 --> 00:25:52,320
and around the Bateau-Lavoir.

324
00:25:54,600 --> 00:25:58,000
Picasso is there with Max Jacob,

325
00:25:58,000 --> 00:25:59,800
and is there with Apollinaire,

326
00:25:59,800 --> 00:26:02,840
who are his two closest friends
at the time.

327
00:26:04,200 --> 00:26:08,960
Guillaume Apollinaire and Max Jacob
were both poets, writers, critics

328
00:26:08,960 --> 00:26:13,240
that were very much part of his
very bohemian existence.

329
00:26:15,720 --> 00:26:20,480
They all are just scrapping things
together and reinventing the way

330
00:26:20,480 --> 00:26:23,600
that they were thinking about art
and poetry and literature.

331
00:26:28,760 --> 00:26:32,120
This is an extraordinary group and,
you know, these are brilliant minds.

332
00:26:32,120 --> 00:26:33,760
But they also love to have fun.

333
00:26:33,760 --> 00:26:35,240
They like to go and drink.

334
00:26:35,240 --> 00:26:38,960
There's opium smoking,
you know, quite a bit of it.

335
00:26:43,520 --> 00:26:46,560
Smoking opium exposes them all
to love and friendship.

336
00:26:46,560 --> 00:26:47,960
Everything is wonderful,

337
00:26:47,960 --> 00:26:50,320
and the most wonderful
conversations are had.

338
00:26:51,680 --> 00:26:55,400
There is this whole world
swirling around Picasso,

339
00:26:55,400 --> 00:26:58,320
and Fernande is a major part of it.

340
00:27:01,400 --> 00:27:04,360
It's probably thanks to opium,
that I've discovered

341
00:27:04,360 --> 00:27:06,920
the true meaning of the word love.

342
00:27:09,000 --> 00:27:11,120
I've discovered, at last,

343
00:27:11,120 --> 00:27:13,160
I understand Pablo.

344
00:27:15,360 --> 00:27:16,800
I sense him better.

345
00:27:18,240 --> 00:27:20,000
Love has risen up in me,

346
00:27:20,000 --> 00:27:23,320
like a feeling that is suddenly
coming into flower.

347
00:27:34,280 --> 00:27:38,000
When they're smoking opium together,
everything is wonderful.

348
00:27:38,000 --> 00:27:40,720
Of course, the next morning,
everyone feels irritated

349
00:27:40,720 --> 00:27:44,000
and agitated, and it's not
totally clear why.

350
00:27:44,000 --> 00:27:45,840
And Picasso is someone

351
00:27:45,840 --> 00:27:48,040
who has strong moods.

352
00:27:59,160 --> 00:28:01,400
In love, he's wonderful.

353
00:28:01,400 --> 00:28:04,480
But when he's irked,
when he gets angry,

354
00:28:04,480 --> 00:28:06,600
it's not so terrific.

355
00:28:10,920 --> 00:28:13,440
When he goes out, he doesn't
like Fernande to be out.

356
00:28:15,920 --> 00:28:18,800
One thing he does is he locks
the door from the outside

357
00:28:18,800 --> 00:28:20,240
when he leaves.

358
00:28:20,240 --> 00:28:22,240
DOOR LOCKS

359
00:28:22,240 --> 00:28:26,200
He keeps her as a prisoner
in their studio.

360
00:28:26,200 --> 00:28:31,040
He wants to have exclusive access
to her when he's not there, as well.

361
00:28:34,240 --> 00:28:35,960
By today's standards,

362
00:28:35,960 --> 00:28:38,120
that would be totally unacceptable.

363
00:28:38,120 --> 00:28:40,800
But at the turn of the last century,

364
00:28:40,800 --> 00:28:43,200
women were treated like possessions,

365
00:28:43,200 --> 00:28:46,120
and we know Picasso liked control.

366
00:28:46,120 --> 00:28:48,880
He can control paint on a canvas.

367
00:28:48,880 --> 00:28:51,160
He wanted to control his
world like that,

368
00:28:51,160 --> 00:28:54,040
and control other people
in it like that.

369
00:29:03,920 --> 00:29:07,520
The first half of 1907 was a really
challenging time for Picasso,

370
00:29:07,520 --> 00:29:09,840
both personally and professionally.

371
00:29:09,840 --> 00:29:12,880
Fernande was having a difficult time
because she very much wanted

372
00:29:12,880 --> 00:29:15,000
to have a child,
but she couldn't have children.

373
00:29:15,000 --> 00:29:18,000
She'd had miscarriages,
and it wasn't going to happen.

374
00:29:18,000 --> 00:29:21,560
They decide they're going to
try and adopt a child together.

375
00:29:21,560 --> 00:29:24,960
So, they go to this orphanage
in Montmartre.

376
00:29:24,960 --> 00:29:28,600
They adopted this 13-year-old
girl called Raymonde.

377
00:29:30,040 --> 00:29:33,120
And she came back
to this chaotic studio.

378
00:29:33,120 --> 00:29:37,080
I mean, one cannot begin to think
what an unsuitable environment

379
00:29:37,080 --> 00:29:40,200
this was for a child
in any way, shape or form.

380
00:29:43,280 --> 00:29:46,320
This situation lasts for
a very short period of time,

381
00:29:46,320 --> 00:29:49,760
because she soon discovers
that Picasso has been

382
00:29:49,760 --> 00:29:51,960
using Raymonde as a nude model

383
00:29:51,960 --> 00:29:54,360
in very explicit positions.

384
00:29:57,560 --> 00:30:00,480
He makes sketches
of this pubescent girl.

385
00:30:00,480 --> 00:30:03,360
Her legs are splayed,
her genitals are shown.

386
00:30:03,360 --> 00:30:07,680
It's a very problematic episode
in Picasso's life.

387
00:30:07,680 --> 00:30:12,440
It puts up a warning flag
about his future views,

388
00:30:12,440 --> 00:30:14,720
vis-a-vis, young women.

389
00:30:14,720 --> 00:30:17,560
I don't think he ever actually
physically made any overtures

390
00:30:17,560 --> 00:30:21,440
towards this young girl,
but the drawing was enough.

391
00:30:21,440 --> 00:30:24,800
It does show a very
unpleasant side of Picasso.

392
00:30:24,800 --> 00:30:28,320
And so, back Raymonde goes
to the orphanage.

393
00:30:28,320 --> 00:30:30,640
The fact that Fernande
thought it was important just

394
00:30:30,640 --> 00:30:33,160
to remove her from the studio -
I don't think this was the act of

395
00:30:33,160 --> 00:30:35,560
a jealous woman, I think it was
the act of a protective woman.

396
00:30:35,560 --> 00:30:37,120
And thank God she did.

397
00:30:41,800 --> 00:30:46,560
He seemed to need conflict
to make new phases in his work.

398
00:30:47,640 --> 00:30:50,640
And I think the fact that things
were difficult with Fernande

399
00:30:50,640 --> 00:30:52,120
was a stimulus.

400
00:30:52,120 --> 00:30:53,760
It was never that clean-cut.

401
00:30:53,760 --> 00:30:56,920
But certainly, the impetus does
seem to be very much out of

402
00:30:56,920 --> 00:31:00,480
personal conflict comes new
bouts of creativity.

403
00:31:08,640 --> 00:31:11,280
Picasso wants to insert himself.

404
00:31:11,280 --> 00:31:12,880
He wants to be a leader.

405
00:31:12,880 --> 00:31:15,400
He wants to be the head of
the avant-garde,

406
00:31:15,400 --> 00:31:17,120
but it will take him time.

407
00:31:18,680 --> 00:31:22,960
His arch-rival, Matisse,
had produced his grand masterpiece,

408
00:31:22,960 --> 00:31:25,160
Le Bonheur de Vivre,

409
00:31:25,160 --> 00:31:28,520
this extraordinary kaleidoscopic
giant canvas of

410
00:31:28,520 --> 00:31:30,360
an Arcadian landscape,

411
00:31:30,360 --> 00:31:33,840
synthesising all
these different influences.

412
00:31:33,840 --> 00:31:35,760
It was a big statement.

413
00:31:38,520 --> 00:31:41,800
It caused a scandal,
which meant that he was suitably

414
00:31:41,800 --> 00:31:44,320
modern and shocking.

415
00:31:44,320 --> 00:31:46,360
And all this, of course,
was a massive challenge,

416
00:31:46,360 --> 00:31:48,000
so Picasso had to really step up.

417
00:31:53,560 --> 00:31:57,160
Picasso trying to make
that world-altering picture.

418
00:31:57,160 --> 00:32:00,160
But he's struggling away,
he's making drawings after drawings,

419
00:32:00,160 --> 00:32:02,160
and he is said to have a block.

420
00:32:06,000 --> 00:32:11,720
He makes a visit to
the Ethnographic Museum, in Paris.

421
00:32:11,720 --> 00:32:15,680
There, he encounters works
by African artists.

422
00:32:16,920 --> 00:32:19,040
Picasso had a bit of a
Damascene moment.

423
00:32:19,040 --> 00:32:23,040
The extraordinary stylization
of the faces of these masks

424
00:32:23,040 --> 00:32:26,800
and these sculptures, but also,
I think the deeply-superstitious

425
00:32:26,800 --> 00:32:31,760
Andalusian Picasso also got
a whole kind of magical,

426
00:32:31,760 --> 00:32:33,680
ritualistic feeling off this.

427
00:32:33,680 --> 00:32:35,880
I mean, this is language
now that sounds a bit strange

428
00:32:35,880 --> 00:32:38,080
in our current sensibilities,
but he really did feel

429
00:32:38,080 --> 00:32:41,360
the extraordinary presence
and power of these artefacts,

430
00:32:41,360 --> 00:32:44,600
and wanted to put them in his
paintings so that his paintings

431
00:32:44,600 --> 00:32:47,400
could channel that kind of energy.

432
00:32:47,400 --> 00:32:50,480
Picasso began working on a painting.

433
00:32:50,480 --> 00:32:54,600
It seems as though he set out to do
nothing more and nothing less

434
00:32:54,600 --> 00:32:59,520
than kind of reinvent
the canon of Western art.

435
00:33:06,000 --> 00:33:09,440
Demoiselles d'Avignon -
I always start with the size.

436
00:33:09,440 --> 00:33:12,600
It's eight feet high,
and over seven-and-a-half feet wide.

437
00:33:16,960 --> 00:33:19,840
You are confronted, as a viewer,

438
00:33:19,840 --> 00:33:23,480
by five female figures.

439
00:33:25,960 --> 00:33:29,200
Three of whom stare out
directly at you,

440
00:33:29,200 --> 00:33:31,760
and two of whom are masked.

441
00:33:33,960 --> 00:33:39,200
At the time, it was shocking for
the way that it banished

442
00:33:39,200 --> 00:33:44,240
traditional conventions
of perspective, of space,

443
00:33:44,240 --> 00:33:48,800
of how you should represent
the human form.

444
00:33:48,800 --> 00:33:52,160
Eyes feel trapped in the gaze of

445
00:33:52,160 --> 00:33:54,760
the three women who stare out at us,

446
00:33:54,760 --> 00:33:57,760
and there's something about
the size, and there's something

447
00:33:57,760 --> 00:34:00,480
about the fractured space,
and about how compressed

448
00:34:00,480 --> 00:34:04,240
and convulsed it is
that is deeply unsettling.

449
00:34:18,200 --> 00:34:22,400
The fracturing of an image is
something that Picasso

450
00:34:22,400 --> 00:34:24,440
was very engaged in.

451
00:34:25,680 --> 00:34:27,200
I'm crazy about that painting.

452
00:34:29,840 --> 00:34:32,440
There's diagonals in that painting.

453
00:34:32,440 --> 00:34:37,320
He's describing these women,
but essentially, he's constructing

454
00:34:37,320 --> 00:34:40,200
a configuration that has a body.

455
00:34:42,600 --> 00:34:44,720
The body is the painting.

456
00:34:46,280 --> 00:34:47,920
The paint is the skin.

457
00:34:55,240 --> 00:34:56,640
The central figures,

458
00:34:56,640 --> 00:35:01,320
they are based on Ivorian sculpture,
which plays with dimension,

459
00:35:01,320 --> 00:35:02,480
and is fluid.

460
00:35:02,480 --> 00:35:05,440
So, it pulls you into a
relationship to keep you slightly

461
00:35:05,440 --> 00:35:07,000
off-balance, out-of-kilter.

462
00:35:09,320 --> 00:35:13,600
Demoiselles d'Avignon talks about
how we view the world,

463
00:35:13,600 --> 00:35:15,680
gender, race.

464
00:35:18,400 --> 00:35:21,120
Now, part of its controversies,

465
00:35:21,120 --> 00:35:24,160
or the questions that it provokes -

466
00:35:24,160 --> 00:35:28,920
what's involved in the way
that he's representing women?

467
00:35:28,920 --> 00:35:33,040
It's very sexual in the way
that it confronts the viewer.

468
00:35:40,600 --> 00:35:44,080
It was first published with
the title The Philosophical Brothel.

469
00:35:44,080 --> 00:35:47,640
So, it's often connected to
a scene of a brothel,

470
00:35:47,640 --> 00:35:51,440
and of sex workers posing for us.

471
00:35:56,040 --> 00:35:59,800
I think there are very good
questions about whether this work

472
00:35:59,800 --> 00:36:03,600
objectifies the women, and also,
its problematic relationship

473
00:36:03,600 --> 00:36:05,640
with Africa and African artists.

474
00:36:07,440 --> 00:36:10,120
When asked if the art from Africa

475
00:36:10,120 --> 00:36:12,960
is really a point of inspiration,

476
00:36:12,960 --> 00:36:15,400
Picasso very famously says, "No".

477
00:36:15,400 --> 00:36:20,600
And so, he diminishes
the contribution of African artists.

478
00:36:20,600 --> 00:36:25,000
That his inspiration is,
in fact, another culture,

479
00:36:25,000 --> 00:36:28,040
a culture that then
was regarded as primitive,

480
00:36:28,040 --> 00:36:31,760
is difficult for Picasso
to acknowledge.

481
00:36:31,760 --> 00:36:34,120
Most great artists don't
want to talk about

482
00:36:34,120 --> 00:36:36,080
their points of inspiration.

483
00:36:36,080 --> 00:36:39,120
And it's sad, because African art

484
00:36:39,120 --> 00:36:41,920
has been written out of so much

485
00:36:41,920 --> 00:36:44,680
of global cultural history.

486
00:36:46,400 --> 00:36:49,720
Yes, you could say it's cultural
appropriation, but artists grab

487
00:36:49,720 --> 00:36:51,880
whatever they possibly can and
put it into their work.

488
00:36:51,880 --> 00:36:54,160
And Picasso absolutely said,
"I don't borrow, I steal".

489
00:36:54,160 --> 00:36:55,760
And boy, did he steal!

490
00:36:55,760 --> 00:36:57,440
Who is the audience?

491
00:36:57,440 --> 00:36:59,280
I mean, really, who is the audience?

492
00:36:59,280 --> 00:37:01,520
What's popular now?

493
00:37:01,520 --> 00:37:03,280
What's politically correct?

494
00:37:04,320 --> 00:37:07,160
People rehashing things, thinking,

495
00:37:07,160 --> 00:37:12,160
"Is he being a vampire, using
African art for his subject matter"?

496
00:37:13,240 --> 00:37:14,600
It's absurd.

497
00:37:14,600 --> 00:37:17,160
I mean, you know, do we say
"thank you" that we have

498
00:37:17,160 --> 00:37:18,800
the Demoiselles d'Avignon?

499
00:37:18,800 --> 00:37:22,600
Or do we say, "Oh, he robbed
that from some other culture"?

500
00:37:22,600 --> 00:37:25,600
The modernity of it still
endures today.

501
00:37:27,160 --> 00:37:30,800
It's not made to please.

502
00:37:30,800 --> 00:37:36,200
It's made to tickle you in
a controversial way.

503
00:37:38,080 --> 00:37:40,600
So, I think that my father
would love the fact that

504
00:37:40,600 --> 00:37:42,560
it's still a controversial painting.

505
00:37:47,120 --> 00:37:51,800
In 1907, a number of Picasso's
friends visit his studio

506
00:37:51,800 --> 00:37:53,360
and see the work.

507
00:37:53,360 --> 00:37:55,800
And the reaction was astonishment.

508
00:38:13,120 --> 00:38:17,120
Picasso's intimate circle did
not know what to do

509
00:38:17,120 --> 00:38:19,760
with this picture.

510
00:38:19,760 --> 00:38:22,880
I've always wondered if Picasso,
to a degree, didn't know what

511
00:38:22,880 --> 00:38:24,240
to do with it, either,

512
00:38:24,240 --> 00:38:28,480
because he kept the Demoiselles
in his studio for many years.

513
00:38:30,480 --> 00:38:32,880
In fact, he completes it in 1907,

514
00:38:32,880 --> 00:38:37,240
but it isn't publicly
exhibited until 1916.

515
00:38:37,240 --> 00:38:41,160
It's fascinating that Picasso
chooses to hold on to this work.

516
00:38:41,160 --> 00:38:44,400
You can imagine Picasso
standing back, thinking,

517
00:38:44,400 --> 00:38:47,720
"If you were to take that
journey further,

518
00:38:47,720 --> 00:38:50,960
"what might lie down that path?

519
00:38:50,960 --> 00:38:52,640
"What..?

520
00:38:52,640 --> 00:38:54,520
"How could you reconfigure
the world?"

521
00:39:01,520 --> 00:39:07,000
It was definitely a time when
he was trying to achieve something

522
00:39:07,000 --> 00:39:09,120
that would be new and different.

523
00:39:10,560 --> 00:39:13,600
Fernande gives us a record
of Picasso's sense that

524
00:39:13,600 --> 00:39:16,480
he needs to be remarkable,

525
00:39:16,480 --> 00:39:18,480
and that he needs to be singular.

526
00:39:20,480 --> 00:39:23,960
Picasso continued to be driven
by great ambition.

527
00:39:23,960 --> 00:39:27,280
He wanted to create a
new kind of art.

528
00:39:27,280 --> 00:39:31,200
Other artists were coming
more frequently to the studio.

529
00:39:31,200 --> 00:39:34,800
Andre Derain was cool and sardonic.

530
00:39:34,800 --> 00:39:36,920
George Braque had
a sharp intelligence

531
00:39:36,920 --> 00:39:39,320
and was quite adaptable.

532
00:39:39,320 --> 00:39:42,480
Picasso earned his pre-eminence
because he was the most skilful

533
00:39:42,480 --> 00:39:44,360
and the most profound,

534
00:39:44,360 --> 00:39:47,480
ceaselessly trying to transcend
what had already been done.

535
00:39:53,400 --> 00:39:56,720
Fernande records Picasso saying
he has a crisis about photography,

536
00:39:56,720 --> 00:39:58,440
which many painters have had.

537
00:39:58,440 --> 00:39:59,800
"Photography exists now.

538
00:39:59,800 --> 00:40:01,320
"What does that mean for us?"

539
00:40:03,720 --> 00:40:06,400
Feeling like, what could he do
to make something that made sense

540
00:40:06,400 --> 00:40:09,320
artistically when there was
this extraordinary machine

541
00:40:09,320 --> 00:40:12,040
that could capture everything
so brilliantly?

542
00:40:12,040 --> 00:40:15,560
With his friend, artist,
collaborator Georges Braque.

543
00:40:15,560 --> 00:40:18,840
Picasso began a radical
new way of thinking

544
00:40:18,840 --> 00:40:20,920
about how to make a picture.

545
00:40:20,920 --> 00:40:24,120
They describe themselves as
two mountaineers roped together,

546
00:40:24,120 --> 00:40:26,400
inventing a new artistic language.

547
00:40:27,840 --> 00:40:30,280
So they look to Paul Cezanne

548
00:40:30,280 --> 00:40:33,000
and the fracturing of the plane
of the picture.

549
00:40:35,720 --> 00:40:38,200
They looked to the art of
Central Africa.

550
00:40:40,640 --> 00:40:43,400
They look to popular culture,

551
00:40:43,400 --> 00:40:47,680
photographic imagery,
mechanisation, industrialisation.

552
00:40:47,680 --> 00:40:50,120
And cinema - yes!
How did I leave that out?

553
00:40:54,240 --> 00:40:57,760
Picasso and Braque essentially
invented cubism.

554
00:41:11,000 --> 00:41:14,880
Cubism is sort of a taking of all
of these different elements

555
00:41:14,880 --> 00:41:18,520
and putting them together to make
a picture that proclaims itself

556
00:41:18,520 --> 00:41:21,120
to be modern, in the sense that

557
00:41:21,120 --> 00:41:26,200
it's unlike any image
that you have ever seen before.

558
00:41:26,200 --> 00:41:29,400
Did away with
naturalistic conventions,

559
00:41:29,400 --> 00:41:34,520
with preconceived notions of how you
construct a space, and perspective.

560
00:41:34,520 --> 00:41:39,640
It's no exaggeration to say changed
the trajectory of Western art,

561
00:41:39,640 --> 00:41:41,520
Western modern art's history.

562
00:41:45,960 --> 00:41:48,640
It's much better than reality.

563
00:41:48,640 --> 00:41:53,120
If you look at cubism that
Braque painted or Picasso painted,

564
00:41:53,120 --> 00:41:56,640
you can always tell which ones
are the Picassos.

565
00:41:56,640 --> 00:42:00,240
I don't know if it's the confidence,
or just the physical reality

566
00:42:00,240 --> 00:42:03,240
of the paintings that hang together

567
00:42:03,240 --> 00:42:05,600
in some idiosyncratic way,

568
00:42:05,600 --> 00:42:08,960
as if he was speaking to you.

569
00:42:11,840 --> 00:42:15,600
I remember he said to my mother when
he was doing the cubist painting,

570
00:42:15,600 --> 00:42:17,240
he would put a little something

571
00:42:17,240 --> 00:42:20,800
that was recognisable,
so that people could enter.

572
00:42:20,800 --> 00:42:24,280
Then they travelled through
the whole experience on their own.

573
00:42:33,200 --> 00:42:35,040
Fernande, as a model and as a muse,

574
00:42:35,040 --> 00:42:38,360
appears again and again
in the cubist work.

575
00:42:38,360 --> 00:42:41,200
She sees the transformation from

576
00:42:41,200 --> 00:42:43,960
the Picasso of the Rose Period

577
00:42:43,960 --> 00:42:47,600
into the Picasso of
the Cubist Period.

578
00:42:47,600 --> 00:42:48,960
She has an eye.

579
00:42:48,960 --> 00:42:52,040
She understands that she's
seeing something extraordinary.

580
00:42:55,160 --> 00:42:57,160
When he turns to cubism,

581
00:42:57,160 --> 00:43:00,320
Picasso becomes the leader
of the avant-garde.

582
00:43:00,320 --> 00:43:04,520
And he is selling cubism
all over Europe.

583
00:43:04,520 --> 00:43:07,920
And Picasso becomes
extremely successful

584
00:43:07,920 --> 00:43:09,880
and extremely rich.

585
00:43:12,160 --> 00:43:15,400
Picasso, at this point, has stature.

586
00:43:15,400 --> 00:43:17,120
He's upped his game.

587
00:43:17,120 --> 00:43:20,160
He's standing alongside Matisse.

588
00:43:21,720 --> 00:43:24,000
Picasso is now
a marketable commodity.

589
00:43:24,000 --> 00:43:25,760
He has various patrons.

590
00:43:25,760 --> 00:43:29,200
Gertrude Stein and Leo Stein,
her brother, are two wealthy

591
00:43:29,200 --> 00:43:34,400
Americans who include Picasso and
Fernande in their circle.

592
00:43:34,400 --> 00:43:36,120
If you can go from
the Bateau-Lavoir,

593
00:43:36,120 --> 00:43:38,200
where you're living your
somewhat squalid life,

594
00:43:38,200 --> 00:43:41,280
making your paintings all night
long, to Gertrude Stein's salon,

595
00:43:41,280 --> 00:43:44,080
you've really accomplished
something significant.

596
00:43:44,080 --> 00:43:47,800
And Picasso and Fernande are able
to move away from the Bateau-Lavoir.

597
00:43:50,920 --> 00:43:54,920
They move to a beautiful apartment
in Boulevard de Clichy.

598
00:43:56,400 --> 00:44:00,160
The movers, when they pick up
the stuff at the Bateau-Lavoir -

599
00:44:00,160 --> 00:44:03,520
this harsh, cold studio space,
and they go to

600
00:44:03,520 --> 00:44:06,880
this bourgeois apartment -
they don't understand.

601
00:44:09,280 --> 00:44:12,760
Pablo and Fernande,
they even had maids.

602
00:44:12,760 --> 00:44:16,520
But Picasso's still the same,
always obsessive with his work.

603
00:44:16,520 --> 00:44:19,560
Even the maids cannot
enter his studio.

604
00:44:21,040 --> 00:44:23,600
No-one is allowed to
touch anything.

605
00:44:23,600 --> 00:44:27,240
So, there's a little tension
between the two of them.

606
00:44:30,920 --> 00:44:33,800
TRANSLATION: He worked at night
because he didn't

607
00:44:33,800 --> 00:44:37,040
like to be disturbed.
Like the man who was never happy,

608
00:44:37,040 --> 00:44:39,840
he is a man who always wanted more.

609
00:44:39,840 --> 00:44:42,160
He was never happy
with what he was doing.

610
00:44:42,160 --> 00:44:44,240
And, when he thought
he had achieved something,

611
00:44:44,240 --> 00:44:46,720
he was no longer interested.

612
00:44:46,720 --> 00:44:48,640
He was looking for something else.

613
00:44:51,200 --> 00:44:54,680
Picasso is someone of constant
experimentation and development.

614
00:44:54,680 --> 00:44:56,280
We certainly see this in his art.

615
00:44:56,280 --> 00:44:58,320
He's a restless soul,

616
00:44:58,320 --> 00:45:03,680
and I think he's that way
in domestic and personal life, too.

617
00:45:07,840 --> 00:45:09,840
There is this constant strain,

618
00:45:09,840 --> 00:45:11,680
and there are also affairs.

619
00:45:11,680 --> 00:45:14,200
He is not a one-woman kind of guy.

620
00:45:15,760 --> 00:45:20,720
Fernande and Picasso's relationship
has reached a pretty stale period.

621
00:45:20,720 --> 00:45:22,720
He's working all the time.

622
00:45:22,720 --> 00:45:24,080
She's quite bored.

623
00:45:25,240 --> 00:45:28,720
She goes off and has an affair
with this young futurist,

624
00:45:28,720 --> 00:45:31,800
and her friend, Eva Goel,
in whom she confides,

625
00:45:31,800 --> 00:45:34,000
goes off and has an affair
with Picasso.

626
00:45:34,000 --> 00:45:36,760
And then, Picasso uses
Fernande's affair to

627
00:45:36,760 --> 00:45:38,960
break off the relationship.

628
00:45:38,960 --> 00:45:41,000
He was furious.

629
00:45:41,000 --> 00:45:45,520
He never forgave her, so that was
the end of their life together.

630
00:45:46,520 --> 00:45:49,800
Fernande finds herself very alone.

631
00:45:49,800 --> 00:45:53,440
All the people who are part
of their life choose him.

632
00:45:53,440 --> 00:45:57,240
And it's sort of obvious, you know,
he's on the up-and-up,

633
00:45:57,240 --> 00:45:59,640
and he leaves her with
nothing of his to sell.

634
00:45:59,640 --> 00:46:02,520
So, she truly has nothing.

635
00:46:03,800 --> 00:46:07,480
What a bitter, sad ending
to this relationship.

636
00:46:14,480 --> 00:46:19,840
For Picasso, it was a particularly
tumultuous, difficult time.

637
00:46:21,760 --> 00:46:24,120
His father died in 1913.

638
00:46:25,400 --> 00:46:28,720
Whatever he felt about his father,
this was huge.

639
00:46:29,720 --> 00:46:32,080
That left something unresolved.

640
00:46:32,080 --> 00:46:34,320
And of course, a lot of relations
between father and son

641
00:46:34,320 --> 00:46:37,440
are unresolved, but if your
father was a minor artist,

642
00:46:37,440 --> 00:46:39,720
and you have become Picasso,

643
00:46:39,720 --> 00:46:43,040
that haunting is
the strangest one possible,

644
00:46:43,040 --> 00:46:45,040
where it isn't as though
you're in his shadow -

645
00:46:45,040 --> 00:46:47,000
it is, he's moved into yours.

646
00:46:47,000 --> 00:46:48,760
What are you going to do about that?

647
00:47:00,600 --> 00:47:03,920
1914 marks the outbreak of
the First World War.

648
00:47:05,600 --> 00:47:09,560
Picasso's close band of buddies -
Apollinaire, Braque -

649
00:47:09,560 --> 00:47:10,960
they go off to the front.

650
00:47:15,120 --> 00:47:17,440
Picasso, as a Spaniard,
didn't have to enlist,

651
00:47:17,440 --> 00:47:19,200
so he didn't go to the front.

652
00:47:19,200 --> 00:47:21,120
But everything is in tumult.

653
00:47:24,280 --> 00:47:26,800
He needs some kind of security
in a world where

654
00:47:26,800 --> 00:47:28,360
everything has gone mad.

655
00:47:33,240 --> 00:47:35,640
He's on the lookout for
a new phase in his life.

656
00:47:47,600 --> 00:47:52,520
1917, Picasso goes to Rome to make
the costumes and the designs

657
00:47:52,520 --> 00:47:55,240
for this radical ballet, Parade,

658
00:47:55,240 --> 00:47:59,680
fusing figurative art and
extraordinary cubist costumes.

659
00:48:03,080 --> 00:48:06,120
And there, Picasso meets
Olga Khokhlova.

660
00:48:09,000 --> 00:48:11,560
Olga Khokhlova was a beautiful

661
00:48:11,560 --> 00:48:13,480
Ukrainian ballerina dancer.

662
00:48:17,200 --> 00:48:20,560
This is a very important
moment in his life.

663
00:48:22,120 --> 00:48:26,280
Olga Khokhlova is ten years younger
than Picasso, she's only 25,

664
00:48:26,280 --> 00:48:28,440
but she's lived a life.

665
00:48:28,440 --> 00:48:31,520
She's toured with
the Ballets Russes,

666
00:48:31,520 --> 00:48:34,880
the most radical dance
company of the time.

667
00:48:34,880 --> 00:48:38,960
She's got tremendous talent
and tremendous style.

668
00:48:38,960 --> 00:48:40,960
And Picasso really did fall in love.

669
00:48:44,600 --> 00:48:48,400
He absolutely courted with her
with these declarations of love.

670
00:48:50,800 --> 00:48:55,520
"My dear, I've just received your
letter with the 17 "I love you"s.

671
00:48:55,520 --> 00:48:58,640
"I counted them immediately,
and I'm very happy.

672
00:48:58,640 --> 00:49:01,200
"It's my favourite number, 17.

673
00:49:01,200 --> 00:49:03,880
"I kiss you, and
I also love you lots.

674
00:49:03,880 --> 00:49:06,360
"And lots and lots, without end."

675
00:49:08,640 --> 00:49:13,120
There's also a very sad letter from
her where she says, "I love you,

676
00:49:13,120 --> 00:49:14,520
"but you've loved before.

677
00:49:14,520 --> 00:49:16,000
"I've never loved before.

678
00:49:16,000 --> 00:49:18,600
"And this makes me very sad,
because you will never love me

679
00:49:18,600 --> 00:49:20,200
"as I love you."

680
00:49:20,200 --> 00:49:22,840
She already kind of got
his measure a bit,

681
00:49:22,840 --> 00:49:25,080
but it was a great,
great love affair.

682
00:49:31,440 --> 00:49:35,520
It's very interesting because Pablo
Picasso is not into abstraction.

683
00:49:35,520 --> 00:49:37,600
He needed a model.

684
00:49:37,600 --> 00:49:40,440
Every time he was meeting
a new woman in his life,

685
00:49:40,440 --> 00:49:42,160
it was a new start.

686
00:49:42,160 --> 00:49:46,440
With Olga, Pablo Picasso proved
again, after the Cubism,

687
00:49:46,440 --> 00:49:49,560
that he was a genius in drawing.

688
00:49:54,480 --> 00:49:57,920
Early drawings of Olga,
he's paying a tribute to

689
00:49:57,920 --> 00:50:00,400
the greatest art of drawing.

690
00:50:00,400 --> 00:50:04,440
And they're exceptional,
in the quality of execution.

691
00:50:08,120 --> 00:50:12,280
Olga appears in Picasso's
work, to begin with,

692
00:50:12,280 --> 00:50:14,360
in a very classical way.

693
00:50:15,720 --> 00:50:18,360
Meticulously realistically drawn,

694
00:50:18,360 --> 00:50:22,560
but actually, at the same time,
his cubism didn't go away.

695
00:50:22,560 --> 00:50:26,280
So, he tended to render Olga
in a very naturalistic way,

696
00:50:26,280 --> 00:50:29,320
probably to please her, because
I think she was quite conventional,

697
00:50:29,320 --> 00:50:31,040
in terms of the art that she liked.

698
00:50:35,960 --> 00:50:40,120
Career-wise, it's a time when
critics and art historians

699
00:50:40,120 --> 00:50:44,040
are rather eager to write Picasso

700
00:50:44,040 --> 00:50:46,520
into history as
the founder of Cubism,

701
00:50:46,520 --> 00:50:49,120
and would like him to
keep going in that vein.

702
00:50:49,120 --> 00:50:53,000
And I think Picasso, on one level
is determined to say,

703
00:50:53,000 --> 00:50:54,480
"Well, no.

704
00:50:54,480 --> 00:50:57,360
"I don't want to be expected
to create art that looks

705
00:50:57,360 --> 00:50:59,320
"in one way or another."

706
00:51:09,520 --> 00:51:12,000
Picasso was at a point in his life

707
00:51:12,000 --> 00:51:14,480
where he didn't want to be
a bohemian any more.

708
00:51:14,480 --> 00:51:17,960
And in 1918, Picasso and
Olga get married

709
00:51:17,960 --> 00:51:21,800
in a full Russian Orthodox service,
at Olga's request.

710
00:51:23,480 --> 00:51:26,960
And then, they go and live
in Rue de La Boetie,

711
00:51:26,960 --> 00:51:29,960
which is the height
of bourgeois respectability.

712
00:51:37,520 --> 00:51:41,120
I think that my grandfather
needed social recognition.

713
00:51:42,320 --> 00:51:44,600
And Olga knew all the rules.

714
00:51:44,600 --> 00:51:48,240
She was a perfect person to organise
the relationships, social life.

715
00:51:48,240 --> 00:51:52,040
Pablo Picasso was becoming very
famous in the Paris society.

716
00:51:52,040 --> 00:51:55,080
He was also rich.
he had a car, a driver, a cook.

717
00:51:55,080 --> 00:51:57,200
And so, everything was perfect.

718
00:52:02,720 --> 00:52:06,080
They were very much the fashionable
celebrity couple, you know,

719
00:52:06,080 --> 00:52:09,760
Picasso, the great artist, Olga,
the beautiful ballerina.

720
00:52:09,760 --> 00:52:12,640
There was Stravinsky, Cocteau.

721
00:52:12,640 --> 00:52:14,520
Coco Chanel was a friend.

722
00:52:14,520 --> 00:52:17,760
You know, they were absolutely
there in the centre of

723
00:52:17,760 --> 00:52:19,600
the kind of beau monde.

724
00:52:21,040 --> 00:52:23,920
Olga has been castigated
by art historians,

725
00:52:23,920 --> 00:52:25,680
saying she made him respectable.

726
00:52:25,680 --> 00:52:30,720
Also, Picasso's bohemian buddies
didn't like it much either.

727
00:52:30,720 --> 00:52:33,800
But Picasso enjoyed wearing
the spats, the snazzy clothes,

728
00:52:33,800 --> 00:52:35,760
living this lifestyle.

729
00:52:43,960 --> 00:52:47,480
The depictions of Olga as
a neoclassical figure -

730
00:52:47,480 --> 00:52:48,760
it's him, too.

731
00:52:48,760 --> 00:52:50,480
It's him trying to live this life.

732
00:52:54,440 --> 00:52:57,480
He's trying to paint out
that high society in Paris,

733
00:52:57,480 --> 00:52:59,120
that he's kind of "made it".

734
00:53:06,240 --> 00:53:09,400
One of the criticisms
that's been levelled at Picasso's

735
00:53:09,400 --> 00:53:11,080
renditions of Olga

736
00:53:11,080 --> 00:53:13,120
is that he shows her as inscrutable.

737
00:53:15,400 --> 00:53:17,880
You don't know what's going on
behind the scenes.

738
00:53:19,400 --> 00:53:21,800
The portraits of Olga
can be quite cold.

739
00:53:24,160 --> 00:53:27,560
Quite full of anxiety, trepidation.

740
00:53:28,840 --> 00:53:30,240
She's often alone.

741
00:53:33,280 --> 00:53:36,280
Olga actually did have
a great deal going on.

742
00:53:39,320 --> 00:53:42,400
Her family, totally devastated
by the outbreak of

743
00:53:42,400 --> 00:53:44,640
the Russian Revolution in 1917.

744
00:53:45,960 --> 00:53:48,920
For two years, she had no idea
what was happening.

745
00:53:48,920 --> 00:53:51,920
So, she's harbouring a great deal

746
00:53:51,920 --> 00:53:55,200
of anguish and tragedy

747
00:53:55,200 --> 00:53:59,480
in these very inscrutable,
impassive portraits.

748
00:53:59,480 --> 00:54:02,840
Once you know this,
I think you look at these portraits

749
00:54:02,840 --> 00:54:04,280
in a very different way,

750
00:54:04,280 --> 00:54:08,280
and you actually look at Picasso
looking at her, and actually,

751
00:54:08,280 --> 00:54:11,240
I think, emoting with this pensive,

752
00:54:11,240 --> 00:54:13,000
rather melancholic figure.

753
00:54:18,720 --> 00:54:21,640
There isn't ever a single way
of reading his work.

754
00:54:25,400 --> 00:54:27,760
If we misread those portraits,

755
00:54:27,760 --> 00:54:29,840
we misread the entire relationship.

756
00:54:49,600 --> 00:54:51,360
Olga...

757
00:54:52,400 --> 00:54:53,880
..is my grandmother.

758
00:54:55,840 --> 00:54:58,640
In 1921, my father was born.

759
00:55:05,320 --> 00:55:07,400
A baby coming is a big event.

760
00:55:08,640 --> 00:55:11,640
And so, it does change life a lot.

761
00:55:13,680 --> 00:55:17,720
In many a family photo album,
you have that love.

762
00:55:21,480 --> 00:55:24,680
You see Olga holding Paul.

763
00:55:26,400 --> 00:55:30,120
He make a little joke
to his mother here.

764
00:55:33,360 --> 00:55:37,160
It's a more important moment
for Picasso's creativity.

765
00:55:40,200 --> 00:55:43,880
The fact he's a recent father

766
00:55:43,880 --> 00:55:46,560
make him paint this love

767
00:55:46,560 --> 00:55:49,320
he had for his wife and his son.

768
00:55:54,680 --> 00:55:58,840
Picasso makes these gorgeous
paintings of Paul.

769
00:55:58,840 --> 00:56:01,320
I think Picasso loved being a father
at the beginning.

770
00:56:01,320 --> 00:56:04,160
And you can see, from the pictures,
his evident joy.

771
00:56:07,920 --> 00:56:10,920
He loved putting Paul in,
sort of, harlequin costumes

772
00:56:10,920 --> 00:56:12,520
and matador costumes.

773
00:56:14,440 --> 00:56:17,720
And also, it's back to the old
macho, Andalusian stuff, isn't it?

774
00:56:17,720 --> 00:56:20,760
He produced a son and heir -
and that was really important

775
00:56:20,760 --> 00:56:22,240
in that patriarchal world.

776
00:56:26,240 --> 00:56:28,200
It was a really happy time.

777
00:56:30,160 --> 00:56:32,320
But, as we know,
longevity in relationships

778
00:56:32,320 --> 00:56:33,880
wasn't Picasso's strong suit.

779
00:56:37,400 --> 00:56:39,080
Picasso will get restless.

780
00:56:39,080 --> 00:56:41,040
He will seek out other lovers.

781
00:56:41,040 --> 00:56:43,640
He will try to push away
the women in his life.

782
00:56:45,760 --> 00:56:49,320
And, the older he gets,
the more explicit he is about

783
00:56:49,320 --> 00:56:53,840
his wanting to really mark
the lives of his lovers so that,

784
00:56:53,840 --> 00:56:56,760
in some ways, they're -

785
00:56:56,760 --> 00:56:59,320
and this is a horrible idea,
and a horrible phrase -

786
00:56:59,320 --> 00:57:01,600
they will be damaged goods
after he leaves them.

787
00:57:01,600 --> 00:57:04,480
That the highlight of their lives
will have been Picasso.

788
00:58:01,880 --> 00:58:03,960
When he changed girlfriends,

789
00:58:03,960 --> 00:58:06,680
the style changed,
the house changed,

790
00:58:06,680 --> 00:58:09,280
even the dog changed.

791
00:58:09,280 --> 00:58:13,080
It has all the cliched
attributes of a mid-life crisis.

792
00:58:13,080 --> 00:58:14,880
She's a schoolgirl.

793
00:58:14,880 --> 00:58:16,960
Picasso's wife, Picasso's mistress

794
00:58:16,960 --> 00:58:19,160
feel like very,
very different portraits.

795
00:58:19,160 --> 00:58:22,320
There was this shape which
looked very phallic.

796
00:58:22,320 --> 00:58:25,160
People were so shocked, they didn't
want to face the painting.

797
00:58:25,160 --> 00:58:26,840
Picasso's said it himself.

798
00:58:26,840 --> 00:58:28,840
"Art is not the decoration.

799
00:58:28,840 --> 00:58:30,680
"It is an act of war."

800
00:58:32,440 --> 00:58:34,320
And then, Dora turns up.

801
00:58:34,320 --> 00:58:37,120
That summer, they were
exchanging couples.

802
00:58:37,120 --> 00:58:38,720
Swinging.

803
00:59:25,400 --> 00:59:27,960
So, how did you meet Picasso?

804
00:59:27,960 --> 00:59:30,160
FRENCH TRANSLATOR SPEAKS

805
00:59:30,160 --> 00:59:32,200
You met him in the street,
I believe.

806
00:59:33,720 --> 00:59:35,560
TRANSLATION: Yes.
I was going shopping.

807
00:59:38,680 --> 00:59:40,760
You were very young.

808
00:59:40,760 --> 00:59:42,440
Well, I was 17.

809
00:59:45,600 --> 00:59:47,640
He was 30 years older than you.

810
00:59:49,360 --> 00:59:51,800
Yes, maybe.

811
00:59:51,800 --> 00:59:55,280
But there was a... I'm not saying
sex appeal, as they say now,

812
00:59:55,280 --> 00:59:57,440
but, well, charm.

813
00:59:57,440 --> 01:00:00,400
My father and my mother didn't have
a wonderful relationship.

814
01:00:00,400 --> 01:00:04,520
So to me, Picasso was
a very great happiness for me.

815
01:00:04,520 --> 01:00:06,920
He was everything to me.

816
01:00:06,920 --> 01:00:10,400
So all he had to do
was seduce me and that's it.

817
01:00:11,640 --> 01:00:14,440
And then he gave me
a beautiful smile.

818
01:00:14,440 --> 01:00:16,800
And then he approached me
and said to me,

819
01:00:16,800 --> 01:00:19,040
"Mademoiselle, you have
an interesting face.

820
01:00:19,040 --> 01:00:20,840
"I would like to do your portrait,

821
01:00:20,840 --> 01:00:23,880
"and I feel that we will do
great things together."

822
01:00:23,880 --> 01:00:26,720
And then he said to me,
"I am Picasso."

823
01:00:31,640 --> 01:00:33,520
TV COMMENTARY: Picasso.

824
01:00:33,520 --> 01:00:37,040
He did things no man had ever done
before with brush and canvas.

825
01:00:38,400 --> 01:00:41,480
..The greatest artistic genius
of the 20th century.

826
01:00:41,480 --> 01:00:44,720
My grandfather,
the day he was buried,

827
01:00:44,720 --> 01:00:47,440
it started snowing,

828
01:00:47,440 --> 01:00:52,040
as if a mythical figure
had suddenly passed away.

829
01:00:53,840 --> 01:00:56,920
I hadn't seen my father
for years.

830
01:00:56,920 --> 01:01:00,000
We thought maybe we could go
into the house or see him,

831
01:01:00,000 --> 01:01:01,440
but we were not...

832
01:01:02,760 --> 01:01:03,840
..allowed.

833
01:01:08,040 --> 01:01:11,320
Because of that situation,

834
01:01:11,320 --> 01:01:13,320
my half-brother commits suicide.

835
01:01:13,320 --> 01:01:15,760
It was very, very tragic.

836
01:01:15,760 --> 01:01:18,200
There was a lot of confusion.

837
01:01:18,200 --> 01:01:22,000
Picasso was not the faithful man.

838
01:01:22,000 --> 01:01:25,360
He had wives, mistresses, lovers.

839
01:01:25,360 --> 01:01:28,520
He was really afraid of death.

840
01:01:28,520 --> 01:01:32,280
And so he would have never made
a will, and he didn't.

841
01:01:38,280 --> 01:01:41,360
You can tell somebody's life
through the pictures that they made.

842
01:01:41,360 --> 01:01:42,560
It really is a diary.

843
01:01:44,200 --> 01:01:48,560
His work, it'll be around until
the planet blows up or whatever.

844
01:01:48,560 --> 01:01:50,200
GLASS SMASHES

845
01:01:53,720 --> 01:01:58,600
Picasso had a strong gaze,
which is a Southern Spanish idea.

846
01:01:59,760 --> 01:02:02,240
That the eyes are where the soul is.

847
01:02:02,240 --> 01:02:06,840
Every time he paints,
emotional truth is always there.

848
01:02:06,840 --> 01:02:09,000
Abhorrent at times or not,

849
01:02:09,000 --> 01:02:11,560
that's what gives his work
such incredible power.

850
01:02:14,520 --> 01:02:18,200
There's always that sense
of underlying violence

851
01:02:18,200 --> 01:02:20,880
and that violence, it's life.

852
01:02:22,080 --> 01:02:26,200
The brutalisation of women
is part of the imagery.

853
01:02:27,840 --> 01:02:30,640
It would be too easy to say
that all those women

854
01:02:30,640 --> 01:02:31,960
were like victims.

855
01:02:33,040 --> 01:02:38,120
Everyone knew that it was not an
ordinary world that we're entering.

856
01:02:39,200 --> 01:02:41,080
Picasso is a man of contradictions.

857
01:02:41,080 --> 01:02:43,680
Can be tender, he can be cruel.

858
01:03:00,800 --> 01:03:04,040
You can't just say
he's a monster or he's a genius.

859
01:03:06,040 --> 01:03:07,840
He's just a man.

860
01:03:25,960 --> 01:03:28,680
Every year was extraordinary
for Picasso.

861
01:03:28,680 --> 01:03:31,800
But of all the years
of all his life,

862
01:03:31,800 --> 01:03:34,640
1932 is miraculous.

863
01:03:36,200 --> 01:03:38,360
In the early to mid-1930s,

864
01:03:38,360 --> 01:03:42,000
Paris was the epicentre
of Western European culture,

865
01:03:42,000 --> 01:03:46,880
famed for its innovation, for wave
on wave of avant-garde artists

866
01:03:46,880 --> 01:03:49,800
who successively broke
all the rules.

867
01:03:51,840 --> 01:03:53,960
Picasso was 50 years old.

868
01:03:53,960 --> 01:03:56,800
For all of us,
that's a kind of pivotal year.

869
01:03:56,800 --> 01:04:00,880
He was at the height of his powers,
but he was also traumatised

870
01:04:00,880 --> 01:04:04,120
by the idea
that his star was fading.

871
01:04:05,920 --> 01:04:08,720
And that was very difficult,
especially for somebody

872
01:04:08,720 --> 01:04:11,480
who's as creative and
as kind of cocky as Picasso.

873
01:04:12,760 --> 01:04:15,960
Probably from a very young age,

874
01:04:15,960 --> 01:04:18,920
he had instilled in him
a feeling that he was above

875
01:04:18,920 --> 01:04:20,200
other human beings.

876
01:04:20,200 --> 01:04:23,920
And that is quite a dangerous thing
to believe about yourself,

877
01:04:23,920 --> 01:04:27,440
because you'll have
to upkeep that all your life,

878
01:04:27,440 --> 01:04:30,560
because you might feel without it,
you're nothing.

879
01:04:30,560 --> 01:04:33,080
He's the best or he's nothing.

880
01:04:33,080 --> 01:04:36,960
So he worked very hard at staying
at being the best.

881
01:04:39,400 --> 01:04:43,520
Picasso's greatly admired
by a group of younger artists

882
01:04:43,520 --> 01:04:45,560
known as the Surrealists.

883
01:04:45,560 --> 01:04:50,520
The Surrealist Group were visual
artists and poets and film-makers.

884
01:04:51,760 --> 01:04:54,760
In Paris at the time, the spirit
of Surrealism is everywhere,

885
01:04:54,760 --> 01:04:57,760
everywhere, permeating everything

886
01:04:57,760 --> 01:05:01,600
and too powerful, too exacting,
too crazy, too important

887
01:05:01,600 --> 01:05:03,760
a movement for him to ignore.

888
01:05:03,760 --> 01:05:05,800
Picasso didn't need

889
01:05:05,800 --> 01:05:07,720
to be part a of a movement

890
01:05:07,720 --> 01:05:09,960
or any other affiliation.

891
01:05:09,960 --> 01:05:12,280
He was too much of an individual,

892
01:05:12,280 --> 01:05:16,520
but he was very close
to the Surrealists.

893
01:05:16,520 --> 01:05:21,040
I think Picasso liked that
they lived by their own rules.

894
01:05:21,040 --> 01:05:27,080
The Surrealists were very interested
in notions of mad love,

895
01:05:27,080 --> 01:05:32,320
of erotic delirium, of ways
of losing self in desire.

896
01:05:32,320 --> 01:05:35,680
And I think being a father
and a family man,

897
01:05:35,680 --> 01:05:41,240
Picasso on one level
is out to reassert himself.

898
01:05:41,240 --> 01:05:45,440
He's in his 50s
and he's still a virile man.

899
01:05:45,440 --> 01:05:48,680
He realises he's bored
of a married life.

900
01:05:48,680 --> 01:05:53,120
And like for every man and woman
after every middle age crisis,

901
01:05:53,120 --> 01:05:56,200
they rediscover the passion, love.

902
01:05:56,200 --> 01:05:59,120
And he's representing
in his canvases his impulses,

903
01:05:59,120 --> 01:06:01,920
his desires, his violence.

904
01:06:01,920 --> 01:06:06,320
And he's allowed to do so
because desire is uncensored

905
01:06:06,320 --> 01:06:09,280
and absolutely accepted
by Surrealism.

906
01:06:09,280 --> 01:06:11,360
So everything becomes sexual.

907
01:06:12,800 --> 01:06:14,480
My theory is that

908
01:06:14,480 --> 01:06:18,560
he showed that side of himself
in his art

909
01:06:18,560 --> 01:06:21,680
not to be vulnerable,
but to show how powerful he was.

910
01:06:26,960 --> 01:06:31,080
One of the things to know
about Picasso in 1932

911
01:06:31,080 --> 01:06:34,600
is Henri Matisse, his great friend
and yet rival,

912
01:06:34,600 --> 01:06:37,960
had had his retrospective in 1931,
just the year before.

913
01:06:41,120 --> 01:06:45,080
The Matisse Retrospective
was really remarkably successful.

914
01:06:45,080 --> 01:06:48,800
So I think Picasso knew
this was a moment to reassert

915
01:06:48,800 --> 01:06:51,480
his supremacy
in the French art world.

916
01:06:53,080 --> 01:06:57,560
Picasso basically invited himself
into the gallery

917
01:06:57,560 --> 01:07:01,240
and asked if he could have
his own one-person show

918
01:07:01,240 --> 01:07:04,200
and then proceeded
to curate it himself.

919
01:07:04,200 --> 01:07:08,840
And he made damn sure that he had
a much bigger space than Matisse,

920
01:07:08,840 --> 01:07:12,400
and he broke some fundamental rules
about curating exhibitions.

921
01:07:12,400 --> 01:07:17,280
I think he wanted to show people
that he didn't abide by the rules.

922
01:07:29,200 --> 01:07:32,000
One of the fascinating things
about the retrospective,

923
01:07:32,000 --> 01:07:35,000
he specifically hung it
outside of chronology.

924
01:07:35,000 --> 01:07:37,440
And it's this sort of crazy

925
01:07:37,440 --> 01:07:38,960
mishmash of works.

926
01:07:40,440 --> 01:07:42,720
He really mixed it up.

927
01:07:42,720 --> 01:07:46,400
It showed the strength
of his history,

928
01:07:46,400 --> 01:07:50,840
full of great innovative works,
including the Blue Period

929
01:07:50,840 --> 01:07:52,480
and the Rose.

930
01:07:54,400 --> 01:07:55,600
Cubism.

931
01:07:57,120 --> 01:07:58,280
Neoclassicism.

932
01:08:00,040 --> 01:08:04,760
He was throwing so many balls
into the air and within it all,

933
01:08:04,760 --> 01:08:06,560
this gorgeous, captivating

934
01:08:06,560 --> 01:08:09,920
early portrait of his wife, Olga.

935
01:08:12,960 --> 01:08:15,200
Olga was hugely important
in Picasso's life,

936
01:08:15,200 --> 01:08:18,320
and he wouldn't have been Picasso
without Olga.

937
01:08:18,320 --> 01:08:20,040
And there was, for a period,

938
01:08:20,040 --> 01:08:22,000
astonishing affection and love.

939
01:08:22,000 --> 01:08:23,880
But that marriage

940
01:08:23,880 --> 01:08:26,080
was under huge assault.

941
01:08:28,280 --> 01:08:31,280
At this exhibition,
Picasso make it public

942
01:08:31,280 --> 01:08:34,880
at the Galerie Georges Petit
that he has met a different woman.

943
01:08:36,840 --> 01:08:41,280
There is numerous portraits
spread on the walls...

944
01:08:42,440 --> 01:08:43,960
..of my grandmother.

945
01:08:48,560 --> 01:08:53,440
He was deeply in love with
Marie-Therese, a very young woman.

946
01:08:53,440 --> 01:08:57,440
And it was a relationship
that inspired him to make

947
01:08:57,440 --> 01:09:00,760
some of his most memorable
and innovative work.

948
01:09:09,400 --> 01:09:11,920
They're just wonderful, beautiful,

949
01:09:11,920 --> 01:09:13,840
pale pinks and blues.

950
01:09:13,840 --> 01:09:16,680
And there is this opulence and this

951
01:09:16,680 --> 01:09:18,720
glorious colour and the line.

952
01:09:18,720 --> 01:09:22,080
It's almost as if Picasso's
dancing with the brush.

953
01:09:23,760 --> 01:09:25,960
You can feel hand on flesh.

954
01:09:28,600 --> 01:09:32,040
When he's painting the curvature
of Marie-Therese's body,

955
01:09:32,040 --> 01:09:33,280
the sensuality of that.

956
01:09:33,280 --> 01:09:35,600
I mean, I don't know another
artist in art history

957
01:09:35,600 --> 01:09:39,680
that has painted desire and sex
as beautifully as Picasso.

958
01:09:39,680 --> 01:09:41,480
The body of work of Marie-Therese

959
01:09:41,480 --> 01:09:44,480
is just... it is just so charged.

960
01:09:45,800 --> 01:09:48,160
It's got such desire
within those pictures.

961
01:09:52,040 --> 01:09:54,160
The eroticism is everywhere.

962
01:09:54,160 --> 01:09:56,280
You can see, even in the very

963
01:09:56,280 --> 01:09:58,920
smooth silhouette...

964
01:10:00,920 --> 01:10:03,480
..it's Marie-Therese,
but you feel the attractions,

965
01:10:03,480 --> 01:10:06,840
such a tsunami of colours

966
01:10:06,840 --> 01:10:10,920
and with the curves, can feel
the heat between the two of them.

967
01:10:10,920 --> 01:10:12,000
Yeah.

968
01:10:14,800 --> 01:10:18,360
The legend, right, is that Olga had
no idea that Marie-Therese existed.

969
01:10:19,920 --> 01:10:23,040
And she looked around the room
and she saw all these beautiful,

970
01:10:23,040 --> 01:10:26,760
stunning portraits of
this blonde woman on the walls.

971
01:10:26,760 --> 01:10:29,400
And that was her discovery of
the fact there was another woman

972
01:10:29,400 --> 01:10:31,000
in Picasso's life.

973
01:10:32,360 --> 01:10:34,480
When Le Reve was exhibited,

974
01:10:34,480 --> 01:10:38,360
people realised there was
this shape above the head

975
01:10:38,360 --> 01:10:42,040
which looked very phallic
and people were shocked.

976
01:10:43,280 --> 01:10:46,040
Some people were so shocked they
didn't want to face the painting.

977
01:10:46,040 --> 01:10:49,400
They would prefer to turn their head
because it was so vibrant.

978
01:10:51,000 --> 01:10:55,200
She is on her throne, dreaming.

979
01:10:55,200 --> 01:10:58,760
In the same gallery, a portrait
of Olga, Picasso's wife.

980
01:11:00,480 --> 01:11:02,800
Picasso's wife, Picasso's mistress.

981
01:11:02,800 --> 01:11:05,520
They feel like
very, very different portraits.

982
01:11:08,440 --> 01:11:11,280
Picasso's meeting of Marie-Therese
has all the kind of

983
01:11:11,280 --> 01:11:13,680
cliched attributes of
a midlife crisis.

984
01:11:13,680 --> 01:11:14,920
She's 17.

985
01:11:14,920 --> 01:11:16,760
She's a schoolgirl.

986
01:11:16,760 --> 01:11:21,520
Times have changed, but even
then, it was a big age gap.

987
01:11:21,520 --> 01:11:24,120
Nobody really frowned on it
when it came to light,

988
01:11:24,120 --> 01:11:27,480
but it does seem problematic now,
it has to be said,

989
01:11:27,480 --> 01:11:29,840
particularly because
it was so sex fuelled.

990
01:11:29,840 --> 01:11:32,360
He just absolutely couldn't
get enough of her.

991
01:11:33,640 --> 01:11:38,840
I think women, they always feel
when there is something happening.

992
01:11:38,840 --> 01:11:44,400
For Olga, it must have been
something very difficult to accept.

993
01:11:44,400 --> 01:11:48,000
Probably something you would
want to deny for a while.

994
01:12:06,200 --> 01:12:10,240
To come from Paris in a car,
it was maybe three hours.

995
01:12:11,480 --> 01:12:13,920
Picasso will be here

996
01:12:13,920 --> 01:12:16,880
with his official family.

997
01:12:18,400 --> 01:12:21,800
Young Paulo, my father,
and my grandmother, Olga.

998
01:12:23,040 --> 01:12:27,480
Picasso wanted to do sculpture,
large scale sculpture,

999
01:12:27,480 --> 01:12:31,600
and he wanted to have a place for
my father to play, to have space.

1000
01:12:38,480 --> 01:12:43,040
During the week, Olga and Paulo
will go back to Paris for school.

1001
01:12:43,040 --> 01:12:46,600
And then Marie-Therese will come.

1002
01:12:50,080 --> 01:12:54,160
But it was no secret at the time.

1003
01:12:54,160 --> 01:12:56,440
You have the official wife

1004
01:12:56,440 --> 01:12:58,520
and you could have a mistress.

1005
01:12:58,520 --> 01:13:00,200
And Olga knew.

1006
01:13:01,600 --> 01:13:04,480
I think for Olga,
it was very, very painful.

1007
01:13:09,120 --> 01:13:10,720
I remember visiting Boisgeloup...

1008
01:13:11,960 --> 01:13:13,280
..many years ago.

1009
01:13:14,960 --> 01:13:19,320
My cousin Bernard was happy
to share with me a place

1010
01:13:19,320 --> 01:13:24,400
where both our grandmothers had
shared so much time with Picasso.

1011
01:13:24,400 --> 01:13:26,520
And the day I came,

1012
01:13:26,520 --> 01:13:28,640
it was very emotional.

1013
01:13:33,280 --> 01:13:36,080
CHURCH BELL CHIMES

1014
01:13:36,080 --> 01:13:39,400
This was Picasso's studio.

1015
01:13:39,400 --> 01:13:42,720
It has no electricity, no hot water.

1016
01:13:42,720 --> 01:13:44,840
No heat.

1017
01:13:44,840 --> 01:13:48,680
It's where he would paint at night

1018
01:13:48,680 --> 01:13:50,680
and during the day.

1019
01:13:50,680 --> 01:13:53,920
And also,
there is a sculpture studio.

1020
01:13:55,360 --> 01:13:58,760
It's a moment where he's not
very happy with his life.

1021
01:13:58,760 --> 01:14:01,040
He needs a change.

1022
01:14:01,040 --> 01:14:03,680
He needs someone
like my grandmother.

1023
01:14:03,680 --> 01:14:06,080
He needs Marie-Therese.

1024
01:14:07,240 --> 01:14:11,400
Picasso, his main focus
was his work.

1025
01:14:11,400 --> 01:14:16,720
And I think it became
more and more obvious

1026
01:14:16,720 --> 01:14:21,720
for Olga that Marie-Therese
has the greater impact

1027
01:14:21,720 --> 01:14:23,760
for his creativity.

1028
01:14:26,240 --> 01:14:28,160
It's almost like a vision.

1029
01:14:29,520 --> 01:14:33,760
When he sees her, it's like a sign
that something new needs to happen.

1030
01:14:33,760 --> 01:14:37,640
So he starts this work of sculpture.

1031
01:14:41,400 --> 01:14:43,880
They're very powerful, very erotic.

1032
01:14:48,800 --> 01:14:51,680
Also, there is a sensuality added
by the way

1033
01:14:51,680 --> 01:14:55,640
he's caressing the plaster and
moulding the shape of his beloved.

1034
01:14:57,400 --> 01:15:01,280
He's creating a forest of sculptures

1035
01:15:01,280 --> 01:15:04,080
of Marie-Therese
that are this giant,

1036
01:15:04,080 --> 01:15:06,560
enormous, revered profiles.

1037
01:15:08,760 --> 01:15:12,640
He is trying to make basically
a tangible representation

1038
01:15:12,640 --> 01:15:14,640
of what he is attracted to.

1039
01:15:17,600 --> 01:15:19,560
FRENCH TRANSLATOR SPEAKS

1040
01:15:19,560 --> 01:15:22,200
What was your life like with Picasso
when you first posed

1041
01:15:22,200 --> 01:15:24,840
at his house like that,
those first few times?

1042
01:15:27,240 --> 01:15:28,920
TRANSLATION: Exhilarating.

1043
01:15:28,920 --> 01:15:30,600
Covered, so I tell you,

1044
01:15:30,600 --> 01:15:33,680
covered with love and kisses

1045
01:15:33,680 --> 01:15:37,440
and jealousy and admiration.

1046
01:15:39,240 --> 01:15:41,200
He was an angel when he was working.

1047
01:15:42,680 --> 01:15:45,520
He stood back to see his painting
and if he liked it,

1048
01:15:45,520 --> 01:15:48,360
then he danced in front
of his painting.

1049
01:15:48,360 --> 01:15:51,720
And he was graceful
and generally always happy.

1050
01:15:54,600 --> 01:15:58,000
You told me
he was wonderfully terrible.

1051
01:15:58,000 --> 01:16:01,200
Yes, of course, fortunately.

1052
01:16:01,200 --> 01:16:03,840
Otherwise,
I wouldn't have liked him.

1053
01:16:15,520 --> 01:16:20,000
Picasso spent quite a lot of time
in the 1930

1054
01:16:20,000 --> 01:16:23,440
doing sculpture, paintings

1055
01:16:23,440 --> 01:16:25,080
and etchings.

1056
01:16:28,200 --> 01:16:32,520
He had installed printing machines

1057
01:16:32,520 --> 01:16:35,000
and he made the Suite Vollard.

1058
01:16:39,280 --> 01:16:42,680
So here we have the Vollard Suite,
the Suite Vollard.

1059
01:16:42,680 --> 01:16:45,600
A group of 100 Picasso prints.

1060
01:16:50,240 --> 01:16:52,520
It's named after Ambroise Vollard,

1061
01:16:52,520 --> 01:16:54,640
one of Picasso's dealer.

1062
01:16:54,640 --> 01:16:59,840
It really follow all the wonderful
sculpture he made of Marie-Therese.

1063
01:16:59,840 --> 01:17:02,720
There is recurring figures.

1064
01:17:02,720 --> 01:17:04,320
So you see here

1065
01:17:04,320 --> 01:17:08,760
there is this mature
man who is the artist.

1066
01:17:08,760 --> 01:17:11,400
There is his model as well.

1067
01:17:11,400 --> 01:17:15,080
And you can clearly recognise
Marie-Therese.

1068
01:17:16,880 --> 01:17:18,280
That's the Minotaur.

1069
01:17:18,280 --> 01:17:21,880
And for Picasso, the Minotaur
has become his alter ego.

1070
01:17:25,160 --> 01:17:29,160
The Minotaur is half bull, half man.

1071
01:17:29,160 --> 01:17:31,640
The bull part is important

1072
01:17:31,640 --> 01:17:35,800
because it connects
to Spain and bullfighting.

1073
01:17:35,800 --> 01:17:37,880
BULL ROARS

1074
01:17:39,480 --> 01:17:41,480
Picasso, being
a lifelong aficionado,

1075
01:17:41,480 --> 01:17:45,040
his first painting at age
eight is of a bullfight.

1076
01:17:46,800 --> 01:17:50,280
But Picasso doesn't identify with
the matador or with the picador.

1077
01:17:50,280 --> 01:17:51,920
He identifies with the bull.

1078
01:17:54,320 --> 01:17:57,840
When you look at how Picasso
depicts himself,

1079
01:17:57,840 --> 01:18:00,200
he does not portray himself
as a hero.

1080
01:18:01,520 --> 01:18:04,640
I think Picasso adopting
the Minotaur is a warning.

1081
01:18:06,320 --> 01:18:08,920
Picasso's I'm saying,
"I'm a monster.

1082
01:18:11,240 --> 01:18:13,080
"Enter at your own risk."

1083
01:18:16,400 --> 01:18:21,920
Carl Jung theorised that each of us
has a dark side

1084
01:18:21,920 --> 01:18:26,280
and that we tend to project
our own dark side

1085
01:18:26,280 --> 01:18:28,280
onto other people.

1086
01:18:30,840 --> 01:18:34,280
Picasso appears to be
owning his own dark side,

1087
01:18:34,280 --> 01:18:36,560
which is very advanced
psychologically.

1088
01:18:36,560 --> 01:18:40,080
That's what the Minotaur
tells me about him.

1089
01:18:40,080 --> 01:18:45,000
He knew he wasn't innocent.

1090
01:18:46,840 --> 01:18:51,000
I think that he was delighted

1091
01:18:51,000 --> 01:18:55,160
by the idea of bestial forces,

1092
01:18:55,160 --> 01:19:00,280
and it was a way to adopt
a character

1093
01:19:00,280 --> 01:19:02,680
that seemed to suit him.

1094
01:19:02,680 --> 01:19:06,000
But, you know, there's a violence
in this image.

1095
01:19:07,200 --> 01:19:11,120
The Minotaur is often depicted
with swooning women

1096
01:19:11,120 --> 01:19:12,920
or frightened women.

1097
01:19:14,000 --> 01:19:15,720
The Minotaur is...

1098
01:19:16,720 --> 01:19:19,240
..capable of extreme violence...

1099
01:19:20,520 --> 01:19:22,160
..and also certain tenderness.

1100
01:19:25,280 --> 01:19:28,360
Here, Picasso, in my opinion,

1101
01:19:28,360 --> 01:19:32,880
captures a moment
intimacy between two lovers.

1102
01:19:32,880 --> 01:19:37,160
For me, maybe after making love,
the woman fall asleep

1103
01:19:37,160 --> 01:19:39,960
and he's just caressing a face.

1104
01:19:39,960 --> 01:19:41,840
It's beautiful.

1105
01:19:41,840 --> 01:19:45,760
But some people call it rape,
this series.

1106
01:19:47,680 --> 01:19:50,880
I see Picasso's work with harmony,

1107
01:19:50,880 --> 01:19:52,640
I see it with grace.

1108
01:19:52,640 --> 01:19:55,040
I see it with joy.

1109
01:19:55,040 --> 01:19:59,000
But there's always that sense
of underlying violence.

1110
01:20:01,160 --> 01:20:06,040
The brutalisation of women
is part of the drawings.

1111
01:20:06,040 --> 01:20:11,120
Many of the images
are profoundly marked

1112
01:20:11,120 --> 01:20:13,520
by the pleasure

1113
01:20:13,520 --> 01:20:16,080
of looking at women in pain.

1114
01:20:20,160 --> 01:20:22,480
It's very problematic.

1115
01:20:22,480 --> 01:20:25,840
You have all these different
incarnations of Picasso getting up

1116
01:20:25,840 --> 01:20:28,040
to some pretty extreme things,
the way he deals with

1117
01:20:28,040 --> 01:20:31,000
the women's bodies, the way
he distorts the female body.

1118
01:20:31,000 --> 01:20:34,920
And given that Marie-Therese
was a 17-year-old schoolgirl

1119
01:20:34,920 --> 01:20:37,480
at the beginning is tricky for us.

1120
01:20:39,000 --> 01:20:42,360
It is a fact that Picasso was 45
when he met Marie-Therese.

1121
01:20:43,520 --> 01:20:46,600
She says that she was initiated

1122
01:20:46,600 --> 01:20:50,200
into sadomasochistic sex by Picasso.

1123
01:20:51,240 --> 01:20:53,480
She says she was part of this.

1124
01:20:53,480 --> 01:20:56,280
On the other hand,
I think we now think of her

1125
01:20:56,280 --> 01:20:58,840
as a fairly young initiate.

1126
01:21:00,880 --> 01:21:02,960
The relationship between
Pablo and Marie-Therese

1127
01:21:02,960 --> 01:21:04,920
was extremely intense.

1128
01:21:06,720 --> 01:21:11,560
Suite Vollard, they are more
challenging artworks of that period,

1129
01:21:11,560 --> 01:21:16,560
and anyone could say that maybe
Pablo was controlling Marie-Therese.

1130
01:21:16,560 --> 01:21:19,720
According to what I understood,

1131
01:21:19,720 --> 01:21:22,280
I think there was
absolutely no violence.

1132
01:21:23,800 --> 01:21:25,280
It was a fantasy.

1133
01:21:25,280 --> 01:21:29,080
It was a fantasy on the canvas,
on the piece of paper.

1134
01:21:31,800 --> 01:21:35,320
You do feel quite uncomfortable
and complicit.

1135
01:21:35,320 --> 01:21:37,720
You're dragged into these drawings.

1136
01:21:37,720 --> 01:21:41,600
You become Picasso's eyes,
wherever they might be.

1137
01:21:41,600 --> 01:21:44,520
But I don't think he intended you
to feel like that particularly.

1138
01:21:44,520 --> 01:21:46,160
I don't think he was thinking
about you.

1139
01:21:46,160 --> 01:21:47,840
I think he was thinking
about him and her.

1140
01:21:53,080 --> 01:21:56,600
Picasso continued doing portraits
in Boisgeloup of Marie-Therese.

1141
01:21:56,600 --> 01:22:00,000
But I think there must have been
some moments where it was difficult

1142
01:22:00,000 --> 01:22:01,520
for Olga.

1143
01:22:03,480 --> 01:22:08,320
My grandmother could not accept
the way Picasso

1144
01:22:08,320 --> 01:22:11,360
would live this kind of double life

1145
01:22:11,360 --> 01:22:16,680
and plus with their son,
my father, Paul.

1146
01:22:16,680 --> 01:22:21,920
We all know in a relationship
when the fuse go,

1147
01:22:21,920 --> 01:22:23,600
it's not a good moment.

1148
01:22:25,920 --> 01:22:29,440
For my father to see
the parents fighting,

1149
01:22:29,440 --> 01:22:31,680
it was surely very painful.

1150
01:22:33,960 --> 01:22:37,520
When you're young
and you see your mother crying

1151
01:22:37,520 --> 01:22:41,240
or criticising your father -
you love your father -

1152
01:22:41,240 --> 01:22:45,120
well, you know, kids would like
the parents to be

1153
01:22:45,120 --> 01:22:46,800
peaceful at all time.

1154
01:22:46,800 --> 01:22:48,560
And it was not always possible.

1155
01:22:50,920 --> 01:22:56,800
Picasso could not handle to live
any more with my grandmother.

1156
01:22:56,800 --> 01:22:59,640
And I think same with Olga.

1157
01:22:59,640 --> 01:23:04,200
But divorce was not acceptable

1158
01:23:04,200 --> 01:23:06,200
in the society.

1159
01:23:06,200 --> 01:23:08,720
You will marry, you will not divorce

1160
01:23:08,720 --> 01:23:12,000
and you will live
with the other lover.

1161
01:23:14,800 --> 01:23:18,280
The way that Picasso depicts
a woman over the course

1162
01:23:18,280 --> 01:23:20,640
of their relationship changes.

1163
01:23:22,880 --> 01:23:25,200
When you look at
the portraits of Olga,

1164
01:23:25,200 --> 01:23:27,560
she starts off
as the beautiful wife.

1165
01:23:29,120 --> 01:23:30,920
By the end of their relationship,

1166
01:23:30,920 --> 01:23:33,960
she's depicted as a hag
and a monster.

1167
01:23:36,000 --> 01:23:40,800
And it's hard to see love
in their relationship in the work.

1168
01:23:47,080 --> 01:23:49,120
TRANSLATION: Of course,
he was married.

1169
01:23:50,360 --> 01:23:52,440
TRANSLATION: He spent his whole life
telling me,

1170
01:23:52,440 --> 01:23:54,440
"I'm going to divorce.
I'm going to divorce."

1171
01:23:56,880 --> 01:23:59,360
And then one day my young
doctor sister, she said,

1172
01:23:59,360 --> 01:24:01,280
"My girl, you're pregnant."

1173
01:24:02,600 --> 01:24:05,840
So I was very scared, maybe.

1174
01:24:05,840 --> 01:24:10,240
I didn't cry in front of her,
but I cried afterwards.

1175
01:24:10,240 --> 01:24:13,600
When I told Pablo Picasso,
he cried with happiness.

1176
01:24:13,600 --> 01:24:15,200
He told me it was the greatest day

1177
01:24:15,200 --> 01:24:17,800
and the greatest happiness
of his life.

1178
01:24:17,800 --> 01:24:19,400
And then I was happy.

1179
01:24:22,280 --> 01:24:26,120
Picasso finally split with Olga
in 1935.

1180
01:24:26,120 --> 01:24:30,240
The reason for that split
was that his young lover,

1181
01:24:30,240 --> 01:24:34,480
Marie-Therese, was pregnant
with their first child.

1182
01:24:44,880 --> 01:24:48,360
Maya was Picasso's second child.

1183
01:24:48,360 --> 01:24:52,760
She was born in '35, so on the eve
of the Second World War.

1184
01:24:54,560 --> 01:24:58,880
To have a daughter, something
that Picasso really wanted.

1185
01:25:00,000 --> 01:25:01,880
He made so many images of her.

1186
01:25:16,800 --> 01:25:19,480
Here are some of the letters.

1187
01:25:19,480 --> 01:25:23,000
Hundreds and hundreds of letters
that they would exchange,

1188
01:25:23,000 --> 01:25:24,320
and he's asking...

1189
01:25:27,320 --> 01:25:28,680
Then again like...

1190
01:25:38,760 --> 01:25:41,880
He decides to name her
Maya Conchita.

1191
01:25:43,360 --> 01:25:45,000
Such a beautiful name.

1192
01:25:46,000 --> 01:25:48,760
And Conchita was the name
of his little sister.

1193
01:25:50,360 --> 01:25:55,280
These are sketchbooks that my
grandfather and mother shared.

1194
01:25:55,280 --> 01:25:58,120
He literally taught her how to draw,

1195
01:25:58,120 --> 01:26:01,320
how to draw a bowl,
how to draw a little wolf.

1196
01:26:02,400 --> 01:26:06,440
Of course, it is very moving
to see that he is a father.

1197
01:26:06,440 --> 01:26:08,880
He's teaching Maya to draw.

1198
01:26:08,880 --> 01:26:12,680
And he himself, he learned it
from his own father.

1199
01:27:07,120 --> 01:27:12,000
This is a sketchbook from...
it was 15 years.

1200
01:27:12,000 --> 01:27:14,960
He master drawings,

1201
01:27:14,960 --> 01:27:18,080
watercolour, oil,

1202
01:27:18,080 --> 01:27:19,440
all the techniques.

1203
01:27:19,440 --> 01:27:22,640
Also pastel, is a very difficult
technique.

1204
01:27:40,440 --> 01:27:44,720
Picasso was very fond
of his sisters, his sister Lola...

1205
01:27:47,120 --> 01:27:48,960
..and his sister Conchita.

1206
01:27:49,920 --> 01:27:54,000
He was 14 and Conchita
contracted diphtheria.

1207
01:27:54,000 --> 01:27:57,640
It was, of course, traumatic.

1208
01:27:59,160 --> 01:28:03,200
There's a story that, you know, he
said that he had promised the Lord

1209
01:28:03,200 --> 01:28:08,720
or whoever that he would stop
painting if his sister didn't die.

1210
01:28:10,720 --> 01:28:14,440
Of course, he couldn't resist
drawing or painting.

1211
01:28:14,440 --> 01:28:16,120
And his sister passed away.

1212
01:28:17,640 --> 01:28:21,040
It's a very traumatic thing
that he has to create

1213
01:28:21,040 --> 01:28:24,760
and at the same time, he must be
feeling that he's killing his sister

1214
01:28:24,760 --> 01:28:27,360
over and over, you know,
through his whole life.

1215
01:28:29,480 --> 01:28:33,480
My father didn't want to hear
about the fact that he might die

1216
01:28:33,480 --> 01:28:34,920
or even be sick.

1217
01:28:36,120 --> 01:28:40,680
That's something he never talked
about - deaths or illnesses.

1218
01:28:40,680 --> 01:28:43,760
He was really afraid of death.

1219
01:28:45,120 --> 01:28:49,280
This is his first brush with
death coming to him so young,

1220
01:28:49,280 --> 01:28:53,640
having his gorgeous baby sister
dying of diphtheria.

1221
01:28:53,640 --> 01:28:57,240
Later on in paintings, there's
an element of her emerging,

1222
01:28:57,240 --> 01:29:02,880
of the memory coming back,
of that great fear of death.

1223
01:29:02,880 --> 01:29:06,000
And that obsession
with blood and dying.

1224
01:29:07,400 --> 01:29:09,440
Throughout Picasso's life,

1225
01:29:09,440 --> 01:29:11,840
emotional truth is always there.

1226
01:29:11,840 --> 01:29:15,480
Whatever is going down in his life,
he goes in the studio.

1227
01:29:15,480 --> 01:29:20,400
So his way of dealing with anything
is to channel it into the work.

1228
01:29:20,400 --> 01:29:22,560
And the work becomes a sort of
valve for everything.

1229
01:29:38,720 --> 01:29:41,360
1936 is a complex time

1230
01:29:41,360 --> 01:29:42,720
in Picasso's life,

1231
01:29:42,720 --> 01:29:47,040
because he's got a wife, Olga,
who he is trying to divorce from

1232
01:29:47,040 --> 01:29:48,760
and that's very messy.

1233
01:29:49,960 --> 01:29:52,960
Olga didn't want to divorce,

1234
01:29:52,960 --> 01:29:54,760
so it was a big fight for years.

1235
01:29:54,760 --> 01:29:58,200
He's got a lover,
Marie-Therese Walter,

1236
01:29:58,200 --> 01:30:01,080
and they've just had
a little baby, Maya.

1237
01:30:01,080 --> 01:30:02,720
And then Dora turns up.

1238
01:30:09,280 --> 01:30:13,800
The story goes that one afternoon
at the Cafe Deux Magots,

1239
01:30:13,800 --> 01:30:17,160
Picasso caught sight
of a striking woman

1240
01:30:17,160 --> 01:30:19,520
wearing rather elegant gloves.

1241
01:30:19,520 --> 01:30:23,040
Dora Maar was petite,
but she was statuesque.

1242
01:30:23,040 --> 01:30:25,040
Had a strong, angular face.

1243
01:30:26,560 --> 01:30:31,800
And she was passing the time of day
by playing with a pen knife and...

1244
01:30:33,080 --> 01:30:36,280
..flicking it
between her splayed fingers.

1245
01:30:36,280 --> 01:30:39,800
And every now and again,
the pen knife would hit the finger.

1246
01:30:39,800 --> 01:30:43,040
And so there was sort of
a Jackson Pollock effect

1247
01:30:43,040 --> 01:30:44,600
of blood spilling out.

1248
01:30:44,600 --> 01:30:46,680
He introduced himself.

1249
01:30:46,680 --> 01:30:50,600
Asked whether he could have
her gloves.

1250
01:30:50,600 --> 01:30:53,760
And they became part
of his memorabilia.

1251
01:30:56,560 --> 01:31:01,640
It's not very normal
to see a beautiful girl

1252
01:31:01,640 --> 01:31:04,960
stabbing the knife
between the fingers.

1253
01:31:04,960 --> 01:31:09,200
Dora was a kind of
masochist personality,

1254
01:31:09,200 --> 01:31:13,440
and Picasso was a kind of
sadistic personality.

1255
01:31:13,440 --> 01:31:15,640
He could be cruel.

1256
01:31:15,640 --> 01:31:18,720
So they had this in common
that, you know,

1257
01:31:18,720 --> 01:31:20,320
that one needs the other.

1258
01:31:23,680 --> 01:31:27,040
She's the ultimate Surrealist diva.

1259
01:31:27,040 --> 01:31:31,880
She enters the scene like
a Shakespearean heroine,

1260
01:31:31,880 --> 01:31:36,760
absolutely full of drama and art
and tragedy and power

1261
01:31:36,760 --> 01:31:40,040
and erotic prowess.

1262
01:31:40,040 --> 01:31:42,600
And he is totally taken aback.

1263
01:31:42,600 --> 01:31:44,480
And that's the beginning
of the story.

1264
01:31:45,720 --> 01:31:49,400
He became obsessed with her,
obsessed with her physique,

1265
01:31:49,400 --> 01:31:52,200
obsessed, no doubt, with her body.

1266
01:31:52,200 --> 01:31:55,000
I would like also to think
obsessed with her mind.

1267
01:31:56,480 --> 01:31:59,920
She was surrounded by
the creme de la creme

1268
01:31:59,920 --> 01:32:03,440
of the intellectual milieu in Paris.

1269
01:32:03,440 --> 01:32:07,600
She was friend of Andre Breton
and Paul Eluard,

1270
01:32:07,600 --> 01:32:10,000
who was a great friend of Picasso.

1271
01:32:11,640 --> 01:32:15,240
The artists that she got to know
quite well through Surrealism,

1272
01:32:15,240 --> 01:32:17,240
for example, include Frida Kahlo.

1273
01:32:17,240 --> 01:32:19,400
I mean, artists who had really
major reputations.

1274
01:32:19,400 --> 01:32:21,040
She was very close to Dali.

1275
01:32:21,040 --> 01:32:24,080
She's absolutely epicentre
of this group of people

1276
01:32:24,080 --> 01:32:27,440
and was obviously already
very talented as an artist.

1277
01:32:29,520 --> 01:32:32,760
She was exploring the dream world

1278
01:32:32,760 --> 01:32:34,840
and other forms of reality.

1279
01:32:34,840 --> 01:32:37,680
She did quite innovative work.

1280
01:32:37,680 --> 01:32:41,640
She absolutely rocked it
as a Surrealist photographer.

1281
01:32:41,640 --> 01:32:46,120
She's visually highly imaginative
in the way she's working,

1282
01:32:46,120 --> 01:32:48,640
whether as a painter
or as a photographer.

1283
01:32:50,800 --> 01:32:54,200
Dora and Picasso, I mean,

1284
01:32:54,200 --> 01:32:57,440
they're famously regarded
as kind of intellectual equals.

1285
01:32:57,440 --> 01:33:02,440
He's got Marie-Therese, who he now
puts outside Paris with Maya,

1286
01:33:02,440 --> 01:33:08,160
and in Paris, Dora Maar,
who's taking up a lot of his time,

1287
01:33:08,160 --> 01:33:12,960
and also interest because she was
very intellectual in a way

1288
01:33:12,960 --> 01:33:14,680
that Marie-Therese never was.

1289
01:33:14,680 --> 01:33:17,800
Marie-Therese remained
madly in love with him.

1290
01:33:19,600 --> 01:33:22,840
Picasso meets Dora Maar
soon after Maya was born.

1291
01:33:24,480 --> 01:33:28,840
It was terrible because Dora Maar
was taking away someone

1292
01:33:28,840 --> 01:33:31,720
who had become her exclusive love.

1293
01:33:33,480 --> 01:33:36,320
It must have been
devastating for her.

1294
01:33:36,320 --> 01:33:39,560
Perhaps because
she had become a mother,

1295
01:33:39,560 --> 01:33:43,040
it's made her a different person.

1296
01:33:43,040 --> 01:33:45,360
But Marie-Therese remains
an important part

1297
01:33:45,360 --> 01:33:50,480
of my grandfather's life, and she
always remains that iconic figure

1298
01:33:50,480 --> 01:33:52,920
throughout the work of Picasso.

1299
01:33:56,880 --> 01:33:59,680
The Femme Endormie.
It's a portrait of Marie-Therese,

1300
01:33:59,680 --> 01:34:02,040
but this garment
that she's wearing, this red,

1301
01:34:02,040 --> 01:34:04,520
it feels like a robe
over a nightgown.

1302
01:34:04,520 --> 01:34:07,880
It's cosy, and it's a bit mumsy,

1303
01:34:07,880 --> 01:34:10,520
which is a very different look
for Marie-Therese, right?

1304
01:34:10,520 --> 01:34:12,520
Not the sexy look.

1305
01:34:12,520 --> 01:34:14,920
Marie-Therese thought
having a child together

1306
01:34:14,920 --> 01:34:17,520
would change their relationship
and it did.

1307
01:34:17,520 --> 01:34:20,560
And it's telegraphed in the work.

1308
01:34:20,560 --> 01:34:23,600
She becomes less of
a sexy character.

1309
01:34:25,400 --> 01:34:26,880
Dora Maar.

1310
01:34:26,880 --> 01:34:30,160
So when you look at the portraits
of the women, when he changed

1311
01:34:30,160 --> 01:34:33,000
girlfriends, the style changed,

1312
01:34:33,000 --> 01:34:35,840
the house changed,
even the dog changed.

1313
01:34:35,840 --> 01:34:39,520
People think about him
as cold-hearted or ruthless,

1314
01:34:39,520 --> 01:34:42,600
that he could abandon people
as easily he could take them up.

1315
01:34:42,600 --> 01:34:46,240
But those love affairs
really did preoccupy him

1316
01:34:46,240 --> 01:34:51,120
and came out as these exquisite
different images that he made.

1317
01:34:56,320 --> 01:35:01,160
In 1937, Picasso produced this
extraordinary suite of paintings,

1318
01:35:01,160 --> 01:35:04,360
known as The Weeping Women,
of which arguably

1319
01:35:04,360 --> 01:35:07,800
the one in Tate's collection
is the masterpiece.

1320
01:35:07,800 --> 01:35:11,280
Dora Maar's features are often
said to be the basis

1321
01:35:11,280 --> 01:35:14,360
for the Weeping Women series.

1322
01:35:14,360 --> 01:35:16,640
It's unfair, in a way, to Dora

1323
01:35:16,640 --> 01:35:20,160
because it gave her the sobriquet
of being the woman who wept,

1324
01:35:20,160 --> 01:35:22,760
and people thought that she was just
a miserable character

1325
01:35:22,760 --> 01:35:25,160
who was always blubbing.
But, no, she wasn't.

1326
01:35:25,160 --> 01:35:29,960
She frequently dismissed the idea
that she was the muse

1327
01:35:29,960 --> 01:35:32,280
or indeed featured
in any other works.

1328
01:35:34,040 --> 01:35:35,680
In the late '80s,

1329
01:35:35,680 --> 01:35:38,040
the Tate collection had just
acquired the work.

1330
01:35:38,040 --> 01:35:41,680
I was responsible
for doing the research,

1331
01:35:41,680 --> 01:35:44,600
and knowing that Picasso and Dora
Maar had a very traumatic

1332
01:35:44,600 --> 01:35:47,880
relationship, I imagine that she was
therefore the weeping woman.

1333
01:35:47,880 --> 01:35:52,000
I was trying to track down people
who were intimate with the painting,

1334
01:35:52,000 --> 01:35:55,440
who knew Picasso and Dora Maar
at that time.

1335
01:35:55,440 --> 01:35:59,560
And the door was flung open
by the then keeper

1336
01:35:59,560 --> 01:36:02,280
of the modern collection at Tate
and said,

1337
01:36:02,280 --> 01:36:05,360
"I've just had the most
dreadful thought.

1338
01:36:05,360 --> 01:36:07,920
"Dora Maar might die.

1339
01:36:07,920 --> 01:36:09,400
"You must go and see her."

1340
01:36:14,080 --> 01:36:18,320
I went to Paris, I had my
little cassette recorder,

1341
01:36:18,320 --> 01:36:22,520
I got into my taxi to see Dora Maar
at an address

1342
01:36:22,520 --> 01:36:24,400
that had taken me months
to track down.

1343
01:36:26,000 --> 01:36:28,120
And I pressed a button
and the door opened.

1344
01:36:30,120 --> 01:36:33,640
And a little old lady opened
the door and she said,

1345
01:36:33,640 --> 01:36:36,240
"C'est moi." It's me.

1346
01:36:36,240 --> 01:36:40,240
It was just, I don't know,
the most extraordinary moment.

1347
01:36:40,240 --> 01:36:41,840
And she invited me in.

1348
01:36:41,840 --> 01:36:44,680
And so I just pressed record.

1349
01:36:45,920 --> 01:36:49,320
The painting of you that
we have at the Tate Gallery.

1350
01:36:50,880 --> 01:36:52,360
I have a photograph.

1351
01:36:52,360 --> 01:36:54,560
Wonderful painting.

1352
01:36:54,560 --> 01:36:57,440
Can I ask you a personal
question about that time?

1353
01:36:59,000 --> 01:37:01,960
Did you cry a lot in your youth?

1354
01:37:10,040 --> 01:37:13,240
You know, I was trying to,
in a unsophisticated way, find out

1355
01:37:13,240 --> 01:37:15,880
whether she was, you know,
traumatised by their relationship.

1356
01:37:15,880 --> 01:37:19,320
But she was absolutely adamant
that that was not the case,

1357
01:37:19,320 --> 01:37:22,560
but that it was her trauma
at the state of the world.

1358
01:37:26,880 --> 01:37:29,840
The spectre of fascism
was all over Europe.

1359
01:37:29,840 --> 01:37:32,360
CHANTING

1360
01:37:34,960 --> 01:37:36,800
A Spanish civil war is brewing.

1361
01:37:39,000 --> 01:37:41,960
CROWD CHEERS

1362
01:37:41,960 --> 01:37:45,920
Hitler is consolidating
his power base in Nazi Germany.

1363
01:37:51,280 --> 01:37:55,240
Fascist forces demonstrated in Paris

1364
01:37:55,240 --> 01:37:58,440
and there were big riots
and dead people.

1365
01:37:58,440 --> 01:38:00,240
It was awful.

1366
01:38:00,240 --> 01:38:01,760
WOMAN SCREAMS

1367
01:38:01,760 --> 01:38:06,480
The Surrealist Group was very
associated with left wing politics.

1368
01:38:06,480 --> 01:38:11,360
So you get a highly creative,
volatile artistic community,

1369
01:38:11,360 --> 01:38:16,480
including Dora Maar, in a country
that was under huge stress

1370
01:38:16,480 --> 01:38:19,320
facing this existential torment.

1371
01:38:21,080 --> 01:38:26,600
The Weeping Women series
are just these heart-wrenching

1372
01:38:26,600 --> 01:38:29,760
sort of responses
to world circumstances.

1373
01:38:29,760 --> 01:38:34,440
I think that '37 is such a unique
moment in Picasso's work,

1374
01:38:34,440 --> 01:38:39,760
because prior to that, you can
connect his art to his life.

1375
01:38:39,760 --> 01:38:45,720
But it's not so easy to make direct
connections to the political events

1376
01:38:45,720 --> 01:38:48,840
and the calamities of his century,

1377
01:38:48,840 --> 01:38:52,800
and that the Weeping Women
is an expression of that,

1378
01:38:52,800 --> 01:38:55,960
just of the tragedy of the world.

1379
01:38:55,960 --> 01:38:59,640
With the Weeping Woman, there is
astonishingly brilliant colour,

1380
01:38:59,640 --> 01:39:01,920
yellows and reds and oranges,

1381
01:39:01,920 --> 01:39:04,800
a broken face,

1382
01:39:04,800 --> 01:39:08,760
eyes like vessels, little boats
tossed on the waves

1383
01:39:08,760 --> 01:39:11,720
with sort of curious knobs
on the end of them.

1384
01:39:11,720 --> 01:39:16,160
The face wracked
into geometric shards.

1385
01:39:16,160 --> 01:39:19,040
It's symbolic of the fact
that in that moment,

1386
01:39:19,040 --> 01:39:22,760
this person's life
is utterly shattered,

1387
01:39:22,760 --> 01:39:26,680
and the way that she's clawing
at her face with her hands -

1388
01:39:26,680 --> 01:39:31,440
and there is the most incredible
expression of grief.

1389
01:39:31,440 --> 01:39:36,480
Having met Dora Maar,
it's quintessentially a real person,

1390
01:39:36,480 --> 01:39:41,000
but depicted in a kind of heightened
reality of abstraction.

1391
01:39:42,400 --> 01:39:43,880
It's not decoration.

1392
01:39:43,880 --> 01:39:46,760
He said it himself,
art is not the decoration.

1393
01:39:46,760 --> 01:39:48,440
It is an act of war.

1394
01:39:52,600 --> 01:39:55,720
NEWS REEL: Snapshots behind the
scenes of the Spanish Civil War.

1395
01:39:57,480 --> 01:39:59,240
And the rebel leaders,
Franco and Llano,

1396
01:39:59,240 --> 01:40:01,200
are held by the insurgents
in Seville.

1397
01:40:01,200 --> 01:40:03,960
Franco harangues his followers
and promises victory.

1398
01:40:03,960 --> 01:40:06,840
At Madrid, there is grim evidence
of what war means.

1399
01:40:17,080 --> 01:40:20,560
Dora pushed Picasso
to do more things

1400
01:40:20,560 --> 01:40:23,280
in favour of the Spanish Republic.

1401
01:40:23,280 --> 01:40:27,320
Picasso paid many, many things
for children,

1402
01:40:27,320 --> 01:40:31,240
money for exiles.

1403
01:40:31,240 --> 01:40:33,080
He was very generous.

1404
01:40:34,320 --> 01:40:37,760
The Republican Government,
they wanted Picasso on their side.

1405
01:40:37,760 --> 01:40:42,600
And certainly in Spain, there is
no-one more important than Picasso.

1406
01:40:42,600 --> 01:40:47,880
He had been asked to make a big work
for the Spanish Pavilion

1407
01:40:47,880 --> 01:40:51,400
in the Great Exhibition
in Paris in 1937.

1408
01:40:51,400 --> 01:40:53,440
But the image won't come.
The image won't come.

1409
01:40:53,440 --> 01:40:55,200
He can't force it.

1410
01:40:55,200 --> 01:40:57,480
And the deadline was getting
closer and closer.

1411
01:40:57,480 --> 01:41:00,440
And this was going to be important.

1412
01:41:00,440 --> 01:41:03,880
CHURCH BELLS RING

1413
01:41:09,960 --> 01:41:12,800
TV COMMENTARY: A peal of church
bells rang out over Guernica

1414
01:41:12,800 --> 01:41:16,560
at 4.30 in the afternoon on a market
day in the spring of 1937.

1415
01:41:16,560 --> 01:41:19,720
MAN SHOUTS

1416
01:41:19,720 --> 01:41:23,320
Ten minutes later,
German pilots in German planes

1417
01:41:23,320 --> 01:41:26,800
hired by General Franco bombed
and strafed the Spanish town

1418
01:41:26,800 --> 01:41:28,760
unopposed for three hours.

1419
01:41:28,760 --> 01:41:30,480
LOUD EXPLOSION

1420
01:41:33,120 --> 01:41:37,600
1,654 people died
and 889 were wounded.

1421
01:41:42,000 --> 01:41:44,720
NEWS REEL: First pictures from the
Basque Republic of the holy city

1422
01:41:44,720 --> 01:41:46,960
of Guernica, scene of the most
terrible air raid

1423
01:41:46,960 --> 01:41:48,840
our modern history yet can boast.

1424
01:41:53,520 --> 01:41:56,920
The bombing of Guernica
was deliberately done to create

1425
01:41:56,920 --> 01:42:00,040
as much civilian casualties
as possible.

1426
01:42:00,040 --> 01:42:03,800
A journalist had gone in,
and he described it vividly,

1427
01:42:03,800 --> 01:42:08,080
graphically, the number of people
who were incinerated by those bombs,

1428
01:42:08,080 --> 01:42:09,560
the city collapsed.

1429
01:42:09,560 --> 01:42:11,280
And there it was in the newspaper

1430
01:42:11,280 --> 01:42:13,320
that Picasso would read
in the morning.

1431
01:42:13,320 --> 01:42:16,240
So you can just imagine Picasso
was thinking, "I have a deadline,

1432
01:42:16,240 --> 01:42:18,480
"I have an image to make,"

1433
01:42:18,480 --> 01:42:21,320
"and the savagery of this,
the cruelty,

1434
01:42:21,320 --> 01:42:23,720
"the levels of destruction,
the darkness,

1435
01:42:23,720 --> 01:42:27,280
"this is what it's going to look
like if these people take over."

1436
01:42:27,280 --> 01:42:30,920
And so, instantly, I mean,
within a very short time,

1437
01:42:30,920 --> 01:42:32,560
he realises what he wants to do.

1438
01:42:37,200 --> 01:42:41,200
In preparing the canvas, he'd put
on a primer of lead white.

1439
01:42:41,200 --> 01:42:44,240
And then on the top of that, there
was white mixed in with charcoal.

1440
01:42:45,800 --> 01:42:48,840
Then a layer which had crushed glass

1441
01:42:48,840 --> 01:42:51,640
laid into a very thin layer
of paint.

1442
01:42:53,760 --> 01:42:56,600
And the effect is actually
extraordinary.

1443
01:42:58,000 --> 01:43:01,240
The light that bounces into
the canvas also comes back out.

1444
01:43:01,240 --> 01:43:04,360
It was a trick that was well known
in the 14th and 15th century.

1445
01:43:04,360 --> 01:43:08,760
So Picasso is starting to lay

1446
01:43:08,760 --> 01:43:11,400
the foundations for a masterpiece.

1447
01:43:13,840 --> 01:43:17,160
Cahiers d'art, which was
a very renowned art magazine,

1448
01:43:17,160 --> 01:43:22,240
commissioned Dora to photograph
the history of this painting.

1449
01:43:22,240 --> 01:43:24,320
SHUTTER CLICKS

1450
01:43:24,320 --> 01:43:29,000
Dora Maar begins to make
these daily progress photographs

1451
01:43:29,000 --> 01:43:31,240
of Guernica.

1452
01:43:31,240 --> 01:43:35,360
Extraordinary detailed photographs
that document every stage.

1453
01:43:35,360 --> 01:43:37,200
SHUTTER CLICKS

1454
01:43:37,200 --> 01:43:39,200
She was in the studio every day.

1455
01:43:41,760 --> 01:43:47,440
The Germans, they dropped these
bombs made from white phosphor.

1456
01:43:47,440 --> 01:43:52,440
They literally set light to the air,
to the atmosphere itself.

1457
01:43:52,440 --> 01:43:55,000
Everything would turn white.

1458
01:43:58,120 --> 01:44:01,160
It literally shreds the colour.

1459
01:44:01,160 --> 01:44:05,520
It felt only right
that this would need to be

1460
01:44:05,520 --> 01:44:07,440
not just a large canvas,

1461
01:44:07,440 --> 01:44:10,240
but a monochromatic canvas too.

1462
01:44:11,600 --> 01:44:17,520
What Picasso does is the bomb blast
expanding across the landscape.

1463
01:44:17,520 --> 01:44:19,640
SHUTTER CLICKS

1464
01:44:21,320 --> 01:44:23,120
He didn't attempt
a big aerial bombing.

1465
01:44:23,120 --> 01:44:26,680
You know, it was a much more
theatrical sense

1466
01:44:26,680 --> 01:44:29,760
of figures, not in conversation,

1467
01:44:29,760 --> 01:44:32,240
but alone.

1468
01:44:32,240 --> 01:44:35,000
One holding something,
one looking this way, one screaming.

1469
01:44:36,320 --> 01:44:38,240
There is a man,

1470
01:44:38,240 --> 01:44:40,960
his arms are stretched out,
but one of his arms

1471
01:44:40,960 --> 01:44:44,600
has been amputated
and it holds a broken sword.

1472
01:44:44,600 --> 01:44:48,200
The other arm, within it is a nail.

1473
01:44:48,200 --> 01:44:51,560
It looks like he could be
Jesus Christ himself.

1474
01:44:52,840 --> 01:44:55,280
It's the balance of the two things.

1475
01:44:55,280 --> 01:44:58,560
This is a bloody war
but we have hope.

1476
01:44:58,560 --> 01:45:00,920
It's so beautifully conceived.

1477
01:45:00,920 --> 01:45:04,600
I have no idea how so many themes
and images can be combined

1478
01:45:04,600 --> 01:45:06,520
into a single thing.

1479
01:45:06,520 --> 01:45:09,680
And it balances the opposition

1480
01:45:09,680 --> 01:45:13,080
of devastation, of bleakness,

1481
01:45:13,080 --> 01:45:15,240
but also of hope.

1482
01:45:18,560 --> 01:45:20,640
On the right-hand side,
we've got these three women.

1483
01:45:20,640 --> 01:45:23,000
There's a lady with a huge foot.

1484
01:45:24,040 --> 01:45:25,520
And you can almost see the bone

1485
01:45:25,520 --> 01:45:27,280
coming through
almost like an X-ray.

1486
01:45:27,280 --> 01:45:32,000
And there's one lady coming
out of a window with a candle.

1487
01:45:33,320 --> 01:45:37,920
There have been so many accounts
of the presence of the three women

1488
01:45:37,920 --> 01:45:40,280
in Picasso's life in Guernica.

1489
01:45:40,280 --> 01:45:44,200
So Olga, his first wife,
Marie-Therese, his lover,

1490
01:45:44,200 --> 01:45:46,280
and then Dora Maar.

1491
01:45:46,280 --> 01:45:50,360
Commentators have identified
the mother as Marie-Therese.

1492
01:45:52,400 --> 01:45:55,600
And the figure holding a candle
as Dora Maar.

1493
01:45:56,960 --> 01:45:59,960
Her breasts have become bombs.

1494
01:45:59,960 --> 01:46:03,240
So it's kind of the absurdity
and the tragedy

1495
01:46:03,240 --> 01:46:06,280
of what happens when man...

1496
01:46:07,560 --> 01:46:09,480
..loses all reason.

1497
01:46:18,520 --> 01:46:23,320
Guernica, it's first shown
in the World Fair in Paris,

1498
01:46:23,320 --> 01:46:26,960
and it's a kind of
powerful statement to the world.

1499
01:46:26,960 --> 01:46:29,440
But it doesn't get that much
of a reaction.

1500
01:46:29,440 --> 01:46:34,120
It's really after the exhibition
that the painting begins

1501
01:46:34,120 --> 01:46:37,920
to build up presence
around the world.

1502
01:46:37,920 --> 01:46:41,080
It came to England in the autumn
of 1938.

1503
01:46:41,080 --> 01:46:42,840
It goes to Whitechapel.

1504
01:46:44,440 --> 01:46:48,640
This is an area which has
a huge amount of immigration,

1505
01:46:48,640 --> 01:46:50,640
large Jewish population,

1506
01:46:50,640 --> 01:46:55,720
but also the area where fascists
would very often march.

1507
01:46:55,720 --> 01:46:58,000
NEWS REEL: Mosley proposes
to march his Blackshirts

1508
01:46:58,000 --> 01:47:01,440
through the East End of London
and is obstructed by anti-fascists.

1509
01:47:01,440 --> 01:47:05,680
To the people who were
fighting back against fascism,

1510
01:47:05,680 --> 01:47:08,040
it seemed to have a resonance.

1511
01:47:08,040 --> 01:47:11,520
I'm imagining that for Picasso,

1512
01:47:11,520 --> 01:47:14,600
it was everything that he had hoped.

1513
01:47:14,600 --> 01:47:18,440
Guernica has to be
the greatest anti-war painting

1514
01:47:18,440 --> 01:47:20,200
because Picasso managed

1515
01:47:20,200 --> 01:47:24,480
to create something which was
so Spanish and yet so universal.

1516
01:47:24,480 --> 01:47:29,000
It then ends up in 1939
going over to America.

1517
01:47:30,840 --> 01:47:34,400
The reception that it started
to get around the world

1518
01:47:34,400 --> 01:47:38,200
is what also made
his international reputation.

1519
01:47:40,840 --> 01:47:44,960
The tragic end to this story
is that, of course,

1520
01:47:44,960 --> 01:47:48,920
Franco wins in Spain.

1521
01:47:48,920 --> 01:47:55,040
Picasso, his response
is to vow to never return.

1522
01:47:56,080 --> 01:47:58,000
You know, they say
the Spanish never forget

1523
01:47:58,000 --> 01:48:00,920
morrina, the idea of homesickness.

1524
01:48:00,920 --> 01:48:04,800
There's such a kind of
deep rooted sense of place.

1525
01:48:04,800 --> 01:48:07,080
And he'd missed Spanish life.

1526
01:48:08,640 --> 01:48:11,440
Picasso had really made his home
in France,

1527
01:48:11,440 --> 01:48:15,160
but he remained at heart
a Spaniard in exile.

1528
01:48:17,160 --> 01:48:20,520
One of the things that, of course,
happened during that period

1529
01:48:20,520 --> 01:48:23,680
after Guernica was that
Picasso and Dora's relationship

1530
01:48:23,680 --> 01:48:25,080
begins to collapse.

1531
01:48:29,880 --> 01:48:33,760
In 1937, a whole bunch of people
all went to the South of France

1532
01:48:33,760 --> 01:48:35,640
in the Cote d'Azur.

1533
01:48:35,640 --> 01:48:38,400
Picasso was with Dora Maar.

1534
01:48:39,760 --> 01:48:44,200
My father, Roland Penrose, was part
of this whole group of artists,

1535
01:48:44,200 --> 01:48:48,080
mainly Surrealists, people like
Man Ray and Paul Eluard.

1536
01:48:51,360 --> 01:48:54,200
Man Ray was well known for making
this sort of film

1537
01:48:54,200 --> 01:48:56,040
at places that he visited.

1538
01:49:03,680 --> 01:49:06,840
There was an immense sexual freedom
amongst all of them.

1539
01:49:06,840 --> 01:49:09,080
They exchanged partners.

1540
01:49:09,080 --> 01:49:12,880
It was part of being a Surrealist
that they were not bound

1541
01:49:12,880 --> 01:49:15,440
by normal conventions and rules.

1542
01:49:15,440 --> 01:49:18,600
It was just this incredible
enactment of free love.

1543
01:49:18,600 --> 01:49:22,120
Later, some of them found it
a little bit more difficult

1544
01:49:22,120 --> 01:49:24,160
to avoid the jealousy.

1545
01:49:24,160 --> 01:49:27,480
They were swimming, they made love

1546
01:49:27,480 --> 01:49:29,680
and they exchanged couples.

1547
01:49:31,280 --> 01:49:33,480
Penrose with Ady Fidelin

1548
01:49:33,480 --> 01:49:35,600
and Picasso with Nusch.

1549
01:49:35,600 --> 01:49:37,760
But I don't think Dora...

1550
01:49:37,760 --> 01:49:42,440
I think Dora was so aloof
and so jealous.

1551
01:49:42,440 --> 01:49:47,560
And I think that she's upset
because of these partouzes.

1552
01:49:47,560 --> 01:49:50,280
You know, exchanging couples.

1553
01:49:50,280 --> 01:49:53,360
OFF CAMERA: Swinging.
Swinging. That's it.

1554
01:49:53,360 --> 01:49:57,240
So there must be quarrels
between Dora and Picasso

1555
01:49:57,240 --> 01:49:59,240
because of that, I'm sure.

1556
01:50:06,360 --> 01:50:08,760
Picasso and Dora returned to Paris.

1557
01:50:12,720 --> 01:50:17,880
Dora Maar was living only 200 metres
from Picasso's studio

1558
01:50:17,880 --> 01:50:20,320
in the Rue de Grands Augustins.

1559
01:50:21,600 --> 01:50:24,600
But she couldn't go to Picasso

1560
01:50:24,600 --> 01:50:28,040
if she hasn't called before...

1561
01:50:29,080 --> 01:50:30,600
..on the phone.

1562
01:50:30,600 --> 01:50:32,720
It's always on his terms.

1563
01:50:33,880 --> 01:50:36,400
She has to be always available
to him.

1564
01:50:36,400 --> 01:50:41,120
So what has happened
to this wonderful artist?

1565
01:50:41,120 --> 01:50:43,120
This woman?

1566
01:50:43,120 --> 01:50:46,240
Well, when you're in love,
you surrender to some extent

1567
01:50:46,240 --> 01:50:49,440
to the other person.
And if that surrender is mutual,

1568
01:50:49,440 --> 01:50:51,800
then it's a kind of
a beautiful thing.

1569
01:50:51,800 --> 01:50:54,440
What I think that happens
in Picasso's case

1570
01:50:54,440 --> 01:50:58,040
is that the woman surrenders,
but he never does.

1571
01:50:58,040 --> 01:51:00,560
He holds on to that control.

1572
01:51:00,560 --> 01:51:05,520
So even someone as clever
and as developed as Dora...

1573
01:51:06,840 --> 01:51:10,240
..has been manipulated and coerced

1574
01:51:10,240 --> 01:51:13,240
into being controlled by Picasso.

1575
01:51:14,240 --> 01:51:16,760
Picasso was a great womaniser.

1576
01:51:16,760 --> 01:51:20,480
He didn't care to have two or three
or four women,

1577
01:51:20,480 --> 01:51:24,760
so poor Dora Maar must
have suffered a lot.

1578
01:51:24,760 --> 01:51:27,880
He was the most macho
of Andalusian men.

1579
01:51:27,880 --> 01:51:31,760
Basically, he didn't like his women
to assert themselves against him.

1580
01:51:31,760 --> 01:51:35,880
He wanted to dominate them
completely, but he also wanted them

1581
01:51:35,880 --> 01:51:39,040
to have a kind of feisty
characteristic streak

1582
01:51:39,040 --> 01:51:42,360
and be really sexually available
and active,

1583
01:51:42,360 --> 01:51:45,320
not just sort of passive muses.

1584
01:51:45,320 --> 01:51:48,800
So it was always going
to cause some trouble.

1585
01:51:48,800 --> 01:51:52,440
It was a very strange,
fluid, febrile time

1586
01:51:52,440 --> 01:51:56,200
when, you know, the end
of the world was nigh.

1587
01:52:02,120 --> 01:52:04,960
NEWS REEL: These criminal methods
of the Nazi conspirators

1588
01:52:04,960 --> 01:52:07,120
brought them early success.

1589
01:52:07,120 --> 01:52:11,560
Now, an evil ambition for power
and more power drove them on.

1590
01:52:15,520 --> 01:52:19,040
Picasso was in Paris during the war.
He didn't flee.

1591
01:52:20,400 --> 01:52:23,720
The United States made
a special programme to enable

1592
01:52:23,720 --> 01:52:26,160
some of the biggest artists to go

1593
01:52:26,160 --> 01:52:28,640
to New York or wherever they wanted.

1594
01:52:28,640 --> 01:52:32,120
My father, contrary to most artists,
refused to go.

1595
01:52:32,120 --> 01:52:34,960
He decided to stay in Paris
and stick it out.

1596
01:52:34,960 --> 01:52:38,760
He was very proud of
resisting the Germans.

1597
01:52:40,400 --> 01:52:43,520
When the Americans rescue artists
from wartime France

1598
01:52:43,520 --> 01:52:47,080
and get them safely to America,
they want Picasso.

1599
01:52:47,080 --> 01:52:49,920
I love the idea that he might have
gone to Wisconsin or somewhere

1600
01:52:49,920 --> 01:52:54,240
and spent the war years
in some city in Missouri.

1601
01:52:54,240 --> 01:52:55,840
And, erm...

1602
01:52:55,840 --> 01:52:58,760
But he wasn't,
he wasn't for taking.

1603
01:52:58,760 --> 01:53:02,600
Dora stayed, or they stayed together
through much of the war.

1604
01:53:02,600 --> 01:53:06,160
During the war, he does a lot
of quite sombre, sinister

1605
01:53:06,160 --> 01:53:08,320
representations of Dora.

1606
01:53:09,880 --> 01:53:12,760
You have glasses and shards
rather than apples and pears

1607
01:53:12,760 --> 01:53:15,560
that you have when you have
Marie-Therese.

1608
01:53:18,920 --> 01:53:23,000
During the occupation,
life was very difficult.

1609
01:53:23,000 --> 01:53:26,560
And also, Dora's mother died.

1610
01:53:27,840 --> 01:53:29,840
Because of all these things,

1611
01:53:29,840 --> 01:53:34,040
she starts to mentally deteriorate.

1612
01:53:36,200 --> 01:53:38,520
She was unstable

1613
01:53:38,520 --> 01:53:42,560
and he fed on her instability.

1614
01:53:42,560 --> 01:53:47,680
But is that to say that it's,
you know, that he was mean to her?

1615
01:53:47,680 --> 01:53:49,240
Well, maybe he was mean to her.

1616
01:53:50,920 --> 01:53:53,960
She also had some episodes.

1617
01:53:53,960 --> 01:53:58,520
The worst was one day
at the Catalan restaurant.

1618
01:53:58,520 --> 01:54:03,880
Everybody was having lunch
and Picasso was talking and talking.

1619
01:54:03,880 --> 01:54:09,400
Dora said, "I cannot stand any more
this conversation. I'm leaving."

1620
01:54:09,400 --> 01:54:11,240
And she fled.

1621
01:54:11,240 --> 01:54:13,680
And Picasso was after her.

1622
01:54:14,720 --> 01:54:17,520
And all of a sudden,
he enters the restaurant

1623
01:54:17,520 --> 01:54:21,680
and he said to Paul Eluard,
"Please, Paul, I need you.

1624
01:54:21,680 --> 01:54:23,040
"Come with me."

1625
01:54:23,040 --> 01:54:26,480
And it seems that Dora had had
a nervous breakdown.

1626
01:54:26,480 --> 01:54:31,200
Eluard blames Picasso
for Dora's situation.

1627
01:54:31,200 --> 01:54:34,400
But Picasso blames the Surrealists,

1628
01:54:34,400 --> 01:54:38,080
saying that it was them
that put all these ideas..

1629
01:54:39,560 --> 01:54:45,040
..into Dora and that they were
dangerous influences on her.

1630
01:54:45,040 --> 01:54:48,000
She has a terrible breakdown
at that stage.

1631
01:54:48,000 --> 01:54:51,800
She had electric shock treatment
and then went into therapy.

1632
01:54:51,800 --> 01:54:55,640
You know, she returned to life
a slightly different person.

1633
01:54:55,640 --> 01:54:58,520
She became very religious
and withdrew.

1634
01:54:59,720 --> 01:55:05,360
Events, including the relationship
with Picasso, conspired, I think,

1635
01:55:05,360 --> 01:55:09,880
to detour her from what was
an extraordinary career.

1636
01:55:12,200 --> 01:55:15,320
Picasso, people say, is not the most
emotionally intelligent

1637
01:55:15,320 --> 01:55:17,320
when it comes to relationships.
You know...

1638
01:55:18,840 --> 01:55:21,040
..he behaved like an adolescent.

1639
01:55:22,920 --> 01:55:26,440
Picasso never really ended
a relationship.

1640
01:55:26,440 --> 01:55:29,200
Nothing was ever clean cut
and there was always an overlap.

1641
01:55:31,000 --> 01:55:34,280
He used me until he felt
there was nothing left of me.

1642
01:55:34,280 --> 01:55:37,720
The hundreds of portraits
of me he painted.

1643
01:55:37,720 --> 01:55:41,560
Then one day in his car,
we had the most appalling argument.

1644
01:55:41,560 --> 01:55:45,000
Afterwards, he left me at my door
and I knew it was all over.

1645
01:55:45,000 --> 01:55:46,720
But I didn't know,

1646
01:55:46,720 --> 01:55:51,360
and waited and waited,
waited for more than two weeks

1647
01:55:51,360 --> 01:55:54,280
when we'd seen each other
almost every day for years.

1648
01:55:54,280 --> 01:55:57,040
He didn't have the courage
to tell me.

1649
01:55:57,040 --> 01:56:00,040
The monster was busy painting
portraits of the girl

1650
01:56:00,040 --> 01:56:02,080
who would give him children.

1651
01:56:06,440 --> 01:56:10,320
Dora Maar wanted desperately
to be with him.

1652
01:56:10,320 --> 01:56:13,480
Picasso cut her off completely.

1653
01:56:17,600 --> 01:56:21,560
Why Dora stayed with him
for so many years?

1654
01:56:21,560 --> 01:56:24,200
It's because to be
the lover of Picasso,

1655
01:56:24,200 --> 01:56:26,960
it was like to be in the centre
of the world.

1656
01:56:29,000 --> 01:56:33,160
I suppose for these women,
they were put in such a light

1657
01:56:33,160 --> 01:56:36,960
that when the light was taken away,
well, they couldn't stand it.

1658
01:56:38,640 --> 01:56:41,120
I mean, it wasn't just Dora Maar.

1659
01:56:41,120 --> 01:56:43,360
His first great love,
Fernande Olivier,

1660
01:56:43,360 --> 01:56:45,480
was left almost destitute.

1661
01:56:47,080 --> 01:56:49,680
His wife, Olga,
became very unstable.

1662
01:56:52,120 --> 01:56:55,440
And Marie-Therese Walter
committed suicide after he died.

1663
01:56:56,840 --> 01:57:00,720
Picasso left a trail of
female carnage in his wake.

1664
01:57:08,120 --> 01:57:12,280
My mother, Francoise Gilot, she was
very young when she met Picasso.

1665
01:57:12,280 --> 01:57:15,960
It was like having a rock star
as a father.

1666
01:57:15,960 --> 01:57:18,840
The book by one of
Picasso's mistresses.

1667
01:57:18,840 --> 01:57:20,440
It was a bombshell.

1668
01:57:20,440 --> 01:57:23,560
Nobody likes to have their secrets
told to the world.

1669
01:57:23,560 --> 01:57:25,640
Everybody had to choose a side.

1670
01:57:25,640 --> 01:57:28,080
He cut his two children
from his life utterly.

1671
01:57:31,760 --> 01:57:34,560
There is so much tragedy
through the whole of his life.

1672
01:58:28,400 --> 01:58:31,500
Some people call him Don Pablo.

1673
01:58:31,500 --> 01:58:34,220
Some people would come
and say Maestro.

1674
01:58:35,400 --> 01:58:37,620
When I talked to him,
I call him Papa.

1675
01:58:41,700 --> 01:58:44,600
He was very down-to-earth.

1676
01:58:44,600 --> 01:58:46,800
I've always looked at him

1677
01:58:46,800 --> 01:58:49,260
both as my father and Picasso.

1678
01:58:51,000 --> 01:58:53,320
So in the summer,
we would go swimming.

1679
01:58:54,680 --> 01:58:58,040
My father would actually pretend
that he knew how to swim,

1680
01:58:58,040 --> 01:58:59,080
but he didn't.

1681
01:59:01,960 --> 01:59:06,360
He kept one foot on the sand
and then pretended to swim.

1682
01:59:09,240 --> 01:59:12,360
He's recognised as the greatest
artist of the century.

1683
01:59:12,360 --> 01:59:15,680
But he didn't want
to show this weakness.

1684
01:59:16,880 --> 01:59:20,160
I think that he was wanting to be

1685
01:59:20,160 --> 01:59:22,240
the best at everything that he did.

1686
01:59:24,240 --> 01:59:26,440
And that's what keeps you going -

1687
01:59:26,440 --> 01:59:30,560
that you want to prove that
you're better than the others.

1688
01:59:35,800 --> 01:59:39,360
ARCHIVE VOICEOVER: Picasso. He did
things no man had ever done before

1689
01:59:39,360 --> 01:59:41,000
with brush and canvas.

1690
01:59:41,000 --> 01:59:45,280
ARCHIVE NEWS: The greatest artistic
genius of the 20th century.

1691
01:59:45,280 --> 01:59:48,560
My grandfather -
the day he was buried,

1692
01:59:48,560 --> 01:59:49,960
it started snowing...

1693
01:59:51,240 --> 01:59:55,840
..as if a mythical figure
had suddenly passed away.

1694
01:59:57,560 --> 02:00:00,840
I hadn't seen my father
for years.

1695
02:00:00,840 --> 02:00:04,160
We thought maybe we could go
into the house or see him.

1696
02:00:04,160 --> 02:00:07,600
But we were not, er, allowed.

1697
02:00:12,680 --> 02:00:17,840
Because of that situation,
my half-brother committed suicide.

1698
02:00:17,840 --> 02:00:20,000
It was very, very tragic.

1699
02:00:20,000 --> 02:00:22,120
There was a lot of confusion.

1700
02:00:22,120 --> 02:00:25,840
Picasso was not the faithful man.

1701
02:00:25,840 --> 02:00:29,240
He had wives, mistresses, lovers.

1702
02:00:29,240 --> 02:00:32,080
He was really afraid of death.

1703
02:00:32,080 --> 02:00:34,880
And so he would have never
made a will,

1704
02:00:34,880 --> 02:00:36,120
and he didn't.

1705
02:00:42,040 --> 02:00:45,080
You can tell somebody's life
through the pictures that they made.

1706
02:00:45,080 --> 02:00:46,680
It really is a diary...

1707
02:00:48,080 --> 02:00:49,320
..his work.

1708
02:00:49,320 --> 02:00:52,360
It'll be around until
the planet blows up, or whatever.

1709
02:00:57,480 --> 02:01:00,680
Picasso had a strong gaze,

1710
02:01:00,680 --> 02:01:03,760
which is a Southern Spanish idea -

1711
02:01:03,760 --> 02:01:06,080
that the eyes
are where the soul is.

1712
02:01:06,080 --> 02:01:07,800
Every time he paints,

1713
02:01:07,800 --> 02:01:10,640
emotional truth is always there -

1714
02:01:10,640 --> 02:01:13,000
abhorrent at times, or not.

1715
02:01:13,000 --> 02:01:15,360
That's what gives his work
such incredible power.

1716
02:01:18,520 --> 02:01:22,600
There is always that sense
of underlying violence,

1717
02:01:22,600 --> 02:01:26,000
and that violence - it's life.

1718
02:01:26,000 --> 02:01:30,240
The brutalisation of women
is part of the imagery.

1719
02:01:31,600 --> 02:01:34,400
It would be too easy to say
that all those women

1720
02:01:34,400 --> 02:01:35,760
were like victims.

1721
02:01:37,320 --> 02:01:41,960
Everyone knew that it was not an
ordinary world they were entering.

1722
02:01:43,080 --> 02:01:45,080
Picasso is a man of contradictions.

1723
02:01:45,080 --> 02:01:47,920
He can be tender,
he can be cruel.

1724
02:02:04,600 --> 02:02:07,920
You can't just say, oh,
he's a monster or he's a genius.

1725
02:02:10,120 --> 02:02:11,600
He's just a man.

1726
02:02:34,320 --> 02:02:37,400
My mother wrote a book about my
father,

1727
02:02:37,400 --> 02:02:39,040
when I was a little girl.

1728
02:02:40,920 --> 02:02:44,400
"I met Pablo Picasso in May 1943,

1729
02:02:44,400 --> 02:02:47,480
"during the German occupation
in France.

1730
02:02:47,480 --> 02:02:49,480
"I was 21.

1731
02:02:49,480 --> 02:02:53,360
"'You must come to my studio
and see some of my paintings."

1732
02:02:53,360 --> 02:02:56,400
"'When?', I asked him.

1733
02:02:56,400 --> 02:02:58,240
"'Tomorrow.'"

1734
02:03:01,880 --> 02:03:04,680
My mother was very young
when she met my father.

1735
02:03:04,680 --> 02:03:07,360
She was an artist already

1736
02:03:07,360 --> 02:03:11,920
and she was, I think, fascinated
by the artist, on one hand,

1737
02:03:11,920 --> 02:03:13,600
but also fascinated by the man.

1738
02:03:15,080 --> 02:03:16,720
He is Picasso.

1739
02:03:16,720 --> 02:03:18,280
He's ultra-famous.

1740
02:03:19,600 --> 02:03:20,880
In 1943,

1741
02:03:20,880 --> 02:03:23,040
Francoise Gilot is 21 years old

1742
02:03:23,040 --> 02:03:25,200
and Picasso is 61.

1743
02:03:26,920 --> 02:03:29,400
They had a very interesting
courtship.

1744
02:03:32,320 --> 02:03:35,720
A few years ago, when Francoise
Gilot's memoir of her life

1745
02:03:35,720 --> 02:03:38,000
with Picasso was republished
in the United States,

1746
02:03:38,000 --> 02:03:39,640
I wrote about it for the magazine.

1747
02:03:41,600 --> 02:03:45,320
It gave me a totally new perspective
on Picasso

1748
02:03:45,320 --> 02:03:47,680
and what it meant to have shared
a life with him.

1749
02:03:51,120 --> 02:03:54,560
He has an interest
in Francoise - it's evident -

1750
02:03:54,560 --> 02:03:56,640
but he doesn't make a move
right away.

1751
02:03:58,080 --> 02:04:01,760
There's a bit of a seductive dance
going on between the two of them.

1752
02:04:03,960 --> 02:04:07,040
First of all,
he was trying to woo her.

1753
02:04:07,040 --> 02:04:10,520
And then, eventually, because she
seemed very interested in his work,

1754
02:04:10,520 --> 02:04:13,160
he had to also show her the works.

1755
02:04:14,600 --> 02:04:17,440
My mother was
from a very good family.

1756
02:04:17,440 --> 02:04:20,040
She was studying
to become a lawyer,

1757
02:04:20,040 --> 02:04:22,240
but she was really not that
interested.

1758
02:04:22,240 --> 02:04:25,040
She really knew from
the deepest part of her heart

1759
02:04:25,040 --> 02:04:27,320
that she wanted to be an artist.

1760
02:04:27,320 --> 02:04:31,960
He was very good at speaking
about his own work,

1761
02:04:31,960 --> 02:04:34,000
but he was able to share things
with her

1762
02:04:34,000 --> 02:04:36,480
that he wouldn't share
with other people.

1763
02:04:39,880 --> 02:04:43,040
"In theory, we had nothing
in common, Picasso and I.

1764
02:04:43,040 --> 02:04:45,600
"But, in fact,
we had a great deal in common.

1765
02:04:45,600 --> 02:04:48,920
"When I told him how much
at ease I felt with him,

1766
02:04:48,920 --> 02:04:52,600
"he grabbed my arm
and burst out excitedly,

1767
02:04:52,600 --> 02:04:55,640
"'But that's exactly the way I feel!

1768
02:04:55,640 --> 02:04:58,000
"'I never found anybody
that seemed like me.

1769
02:04:58,000 --> 02:05:01,680
"'I took refuge
entirely in my painting.

1770
02:05:01,680 --> 02:05:05,160
"'Gradually, I met people with whom
I could exchange a little bit,

1771
02:05:05,160 --> 02:05:07,200
"'and I had that same feeling
with you -

1772
02:05:07,200 --> 02:05:09,320
"'of speaking the same language.

1773
02:05:09,320 --> 02:05:12,840
"'From the very first moment,
I knew we could communicate.'"

1774
02:05:18,960 --> 02:05:22,000
I think what was irresistibly
fascinating about Francoise

1775
02:05:22,000 --> 02:05:25,440
was that she was always
her own person

1776
02:05:25,440 --> 02:05:28,200
and, right from the beginning,

1777
02:05:28,200 --> 02:05:30,560
she was no pushover to Picasso.

1778
02:05:30,560 --> 02:05:32,480
Francoise is very aware.

1779
02:05:32,480 --> 02:05:36,120
She's not coming
into this naively thinking,

1780
02:05:36,120 --> 02:05:37,880
"Oh, he's never had a past."

1781
02:05:41,520 --> 02:05:44,120
I mean, if you know anything about
his artwork at the time,

1782
02:05:44,120 --> 02:05:45,720
you see the past in all

1783
02:05:45,720 --> 02:05:48,080
the paintings that he's making.

1784
02:05:48,080 --> 02:05:51,640
There's his wife, Olga,
who he cannot get divorced from.

1785
02:05:51,640 --> 02:05:54,400
So it was
a very bitter relationship.

1786
02:05:54,400 --> 02:05:57,840
But she is Madame Picasso
and she is still there

1787
02:05:57,840 --> 02:05:59,960
and she certainly
wants to remind him of that.

1788
02:06:01,440 --> 02:06:05,160
And then there is Marie-Therese
Walter, who was Picasso's love,

1789
02:06:05,160 --> 02:06:07,440
and the mother of
one of his children,

1790
02:06:07,440 --> 02:06:11,880
who still very much depends on him
emotionally, financially,

1791
02:06:11,880 --> 02:06:15,880
and also, their daughter is
a part of his life sporadically.

1792
02:06:18,320 --> 02:06:21,800
There is Dora Maar, his girlfriend.

1793
02:06:21,800 --> 02:06:25,280
Dora is a major part
of Picasso's life,

1794
02:06:25,280 --> 02:06:27,480
and the arrival of Francoise
means that her role

1795
02:06:27,480 --> 02:06:31,120
is going to get marginalised
and, eventually, cut altogether.

1796
02:06:34,280 --> 02:06:36,320
The past kept being present.

1797
02:06:36,320 --> 02:06:39,360
All the exes are still around.

1798
02:06:40,760 --> 02:06:43,480
My father never ended
the relationship

1799
02:06:43,480 --> 02:06:45,640
with the different women
he was with.

1800
02:06:46,920 --> 02:06:50,680
On one hand, he didn't want
the drama of the other person

1801
02:06:50,680 --> 02:06:54,680
being unhappy, but, at the same
time, there was one part of him

1802
02:06:54,680 --> 02:06:58,640
who couldn't part
with that part of his past.

1803
02:07:07,440 --> 02:07:10,880
Francoise explicitly thinks
about Bluebeard

1804
02:07:10,880 --> 02:07:12,560
when she thinks about Picasso.

1805
02:07:15,480 --> 02:07:18,200
Bluebeard, who married
a sequence of women

1806
02:07:18,200 --> 02:07:20,680
and kept their heads in his attic.

1807
02:07:23,000 --> 02:07:26,400
That's how Francoise thinks
of Picasso with his previous lovers,

1808
02:07:26,400 --> 02:07:28,240
except there's a difference.

1809
02:07:28,240 --> 02:07:30,880
She says he never cuts
their heads off completely -

1810
02:07:30,880 --> 02:07:33,120
he leaves them hanging by a thread

1811
02:07:33,120 --> 02:07:37,040
because he likes to hear them
occasionally make little moans,

1812
02:07:37,040 --> 02:07:39,560
like dolls,

1813
02:07:39,560 --> 02:07:42,040
just so he can know
that they're still there

1814
02:07:42,040 --> 02:07:44,320
and that he's still
a part of their lives.

1815
02:07:47,520 --> 02:07:50,960
Wow. That's a very strong thing
to say about anyone,

1816
02:07:50,960 --> 02:07:53,480
let alone someone
you are with at the time.

1817
02:07:56,920 --> 02:08:00,040
Francoise is certainly aware
of Picasso's habits

1818
02:08:00,040 --> 02:08:03,040
of collecting women
and then discarding them.

1819
02:08:04,600 --> 02:08:08,200
So, certainly,
there is an awareness of risk.

1820
02:08:08,200 --> 02:08:11,720
He's playful, he's flirtatious.
He can also be really mean.

1821
02:08:11,720 --> 02:08:15,600
He has this extraordinary charm -

1822
02:08:15,600 --> 02:08:18,440
so playful, so charismatic.

1823
02:08:18,440 --> 02:08:21,920
But then he'd turn and become
this absolute beast -

1824
02:08:21,920 --> 02:08:25,120
this cruel person
who took pleasure in cruelty.

1825
02:08:29,400 --> 02:08:31,840
"I told him
I thought he was the devil.

1826
02:08:34,320 --> 02:08:36,040
"His eyes narrowed.

1827
02:08:37,960 --> 02:08:39,960
"He took the cigarette
he was smoking

1828
02:08:39,960 --> 02:08:42,720
"and touched it to my right cheek
and held it there.

1829
02:08:44,840 --> 02:08:46,560
"He must have expected me
to pull away,

1830
02:08:46,560 --> 02:08:49,640
"but I was determined
not to give him that satisfaction.

1831
02:08:52,160 --> 02:08:55,960
"After what seemed like
a long time, he took it away.

1832
02:08:55,960 --> 02:08:57,560
"'No', he said.

1833
02:08:57,560 --> 02:08:59,640
"'That's not a very good idea.

1834
02:08:59,640 --> 02:09:02,520
"'After all, I may still want
to look at you.'"

1835
02:09:07,720 --> 02:09:11,120
It's a very scary story

1836
02:09:11,120 --> 02:09:15,920
and it demonstrates
Picasso's controlling tendencies.

1837
02:09:15,920 --> 02:09:18,600
When Picasso and Francoise
take up together,

1838
02:09:18,600 --> 02:09:21,200
life, of course, was constrained
in various ways.

1839
02:09:21,200 --> 02:09:23,720
Paris was a town under occupation.

1840
02:09:39,560 --> 02:09:43,000
Life in Paris was nightmarish.

1841
02:09:44,280 --> 02:09:47,480
The threat that maybe somebody
that you were fond of, maybe

1842
02:09:47,480 --> 02:09:50,280
that you had as a friend,
was going to betray you

1843
02:09:50,280 --> 02:09:52,560
because you'd done something
to help the Resistance,

1844
02:09:52,560 --> 02:09:54,000
or you'd sheltered a Jew.

1845
02:09:56,160 --> 02:09:59,080
Picasso chose to be there

1846
02:09:59,080 --> 02:10:01,800
and, in quiet sort of ways,

1847
02:10:01,800 --> 02:10:04,160
he helped the Resistance.

1848
02:10:04,160 --> 02:10:07,240
He gave them money,
he sheltered people.

1849
02:10:07,240 --> 02:10:09,520
He was...clever about it.

1850
02:10:09,520 --> 02:10:10,680
He was cunning.

1851
02:10:13,200 --> 02:10:15,080
He was very, very careful.

1852
02:10:16,360 --> 02:10:18,880
There's no example of him
attending a social event

1853
02:10:18,880 --> 02:10:21,120
at which he knew the Nazis
were going to be.

1854
02:10:25,080 --> 02:10:27,600
Paris, in these years,
was filled with collaborators.

1855
02:10:27,600 --> 02:10:29,200
It was filled with parties.

1856
02:10:31,480 --> 02:10:33,680
Cocteau spent his time...
Coco Chanel.

1857
02:10:33,680 --> 02:10:37,400
They were always at parties
where there were Nazis there.

1858
02:10:37,400 --> 02:10:41,200
Picasso was careful of what it
would look like after the war.

1859
02:10:41,200 --> 02:10:43,680
He came out squeaky clean.

1860
02:10:46,960 --> 02:10:49,280
Picasso saw few people

1861
02:10:49,280 --> 02:10:53,280
and remained stuck in his studio,

1862
02:10:53,280 --> 02:10:54,920
and he worked.

1863
02:11:02,080 --> 02:11:06,160
The art he produces
at the time is a skull.

1864
02:11:08,840 --> 02:11:11,520
Or a nude which was
like another skeleton.

1865
02:11:13,000 --> 02:11:17,120
He expressed the drama of
what was going on.

1866
02:11:19,680 --> 02:11:22,320
Picasso was painting stark images

1867
02:11:22,320 --> 02:11:24,880
of light and dark, for example.

1868
02:11:24,880 --> 02:11:27,440
Good and evil,
freedom and restriction.

1869
02:11:28,520 --> 02:11:33,040
I think he really did realise that,
you know, freedom mattered.

1870
02:11:33,040 --> 02:11:35,480
So he is becoming ideological.

1871
02:11:40,960 --> 02:11:43,280
Picasso did a sculpture called

1872
02:11:43,280 --> 02:11:46,480
L'Homme au Mouton -
Man Carrying a Lamb.

1873
02:11:46,480 --> 02:11:52,160
This sculpture shows
a humble man, an everyday man -

1874
02:11:52,160 --> 02:11:54,200
a shepherd, if you want.

1875
02:11:55,520 --> 02:12:01,080
Picasso did have
a huge sense of compassion.

1876
02:12:01,080 --> 02:12:05,520
People often try and make him out
to be ruthlessly self-centred.

1877
02:12:05,520 --> 02:12:08,440
But I think the way the man
is holding the sheep

1878
02:12:08,440 --> 02:12:13,640
shows that sense of looking after
people who are less fortunate.

1879
02:12:14,920 --> 02:12:17,400
There's something very charming
about

1880
02:12:17,400 --> 02:12:20,200
the vulnerability of the sheep

1881
02:12:20,200 --> 02:12:23,240
and the strength of the man.

1882
02:12:24,920 --> 02:12:27,520
He's going to stand firm, whatever.

1883
02:12:27,520 --> 02:12:30,640
I think we can look at that
sculpture and say,

1884
02:12:30,640 --> 02:12:32,200
yes, it's a message of hope.

1885
02:12:40,600 --> 02:12:44,440
NEWSREEL: The great cathedral of
Notre Dame as the French Armoured
Division moves to complete

1886
02:12:44,440 --> 02:12:46,840
the liberation of Paris.

1887
02:12:52,200 --> 02:12:58,320
# C'est si bon, de
partir n'importe ou

1888
02:12:58,320 --> 02:13:01,280
# Bras dessus bras dessous

1889
02:13:01,280 --> 02:13:04,760
# En chantant des chansons...

1890
02:13:04,760 --> 02:13:08,440
After the war, my father goes back
where he comes from

1891
02:13:08,440 --> 02:13:11,760
and what is most important for him,
and that's the Mediterranean.

1892
02:13:11,760 --> 02:13:14,200
# Les passants dans la rue

1893
02:13:14,200 --> 02:13:17,240
# Bras dessus bras dessous. #

1894
02:13:17,240 --> 02:13:19,520
For Picasso, it was
the end of the war,

1895
02:13:19,520 --> 02:13:23,640
the beginning of a new relationship
with a 40-years-younger woman,

1896
02:13:23,640 --> 02:13:25,440
and a kind of renewal.

1897
02:13:29,840 --> 02:13:31,640
Picasso and Francoise, they end up

1898
02:13:31,640 --> 02:13:33,960
buying a house
together - La Galloise -

1899
02:13:33,960 --> 02:13:37,800
and, suddenly, colour
comes back into Picasso's painting.

1900
02:13:51,160 --> 02:13:54,920
because, in fact,
he was a Mediterranean man.

1901
02:13:58,560 --> 02:14:00,920
So there is a sense of happiness.

1902
02:14:03,520 --> 02:14:07,880
You have all these paintings related
to this mythological world

1903
02:14:07,880 --> 02:14:10,240
and antique world.

1904
02:14:10,240 --> 02:14:13,160
So you have the famous
Joy Of Life, for instance.

1905
02:14:17,040 --> 02:14:20,040
The natural way of life
that was possible here

1906
02:14:20,040 --> 02:14:21,920
was very important for Picasso.

1907
02:14:29,240 --> 02:14:32,400
The other artist that settled here
was Matisse.

1908
02:14:35,800 --> 02:14:38,600
My mother, being a painter,
was fascinated by the idea

1909
02:14:38,600 --> 02:14:41,120
that she could meet Matisse.

1910
02:14:41,120 --> 02:14:45,240
And then, finally, one day,
my father takes her to see him.

1911
02:14:48,920 --> 02:14:51,440
The friendship with Matisse
was a friendship

1912
02:14:51,440 --> 02:14:55,200
where they each
wanted to be the best.

1913
02:14:55,200 --> 02:14:58,000
And Matisse is very taken
by my mother

1914
02:14:58,000 --> 02:15:01,120
and does a little paper cut
of my mother,

1915
02:15:01,120 --> 02:15:04,520
and my father is absolutely furious.

1916
02:15:04,520 --> 02:15:06,840
You can see he's fuming

1917
02:15:06,840 --> 02:15:09,600
and, finally, out of that,
comes the fact that he starts

1918
02:15:09,600 --> 02:15:12,080
drawing her and painting her.

1919
02:15:14,200 --> 02:15:18,120
For every woman,
there's a different era in his work.

1920
02:15:19,120 --> 02:15:21,040
He had to find a new woman

1921
02:15:21,040 --> 02:15:23,360
because he had different ideas
in his head.

1922
02:15:29,440 --> 02:15:31,520
The influence of Picasso

1923
02:15:31,520 --> 02:15:35,560
on Gilot's art is also
very apparent.

1924
02:15:35,560 --> 02:15:38,480
She's quite young then and she is
looking for a master, explicitly.

1925
02:15:38,480 --> 02:15:40,760
She's looking for a teacher.
She wants to be taught.

1926
02:15:40,760 --> 02:15:44,720
She wants to have a style
and a technique impressed upon her.

1927
02:15:48,080 --> 02:15:52,800
"During that Spring, I worked harder
than ever at my painting.

1928
02:15:52,800 --> 02:15:56,960
"Sometimes, I would take a drawing
or painting to show Pablo.

1929
02:16:00,960 --> 02:16:04,400
"Even though he appeared not
to be giving me any direct advice,

1930
02:16:04,400 --> 02:16:07,200
"whenever I applied those
general principles of his,

1931
02:16:07,200 --> 02:16:08,920
"I would make progress."

1932
02:16:14,240 --> 02:16:17,320
One of the first works she makes
when they're together

1933
02:16:17,320 --> 02:16:21,080
is a painting called
Adam Forcing Eve to Eat the Apple.

1934
02:16:24,120 --> 02:16:28,760
My mother did a portrait of my
father with a kind of humour...

1935
02:16:31,920 --> 02:16:36,400
..when you can very well recognise
Picasso being depicted there.

1936
02:16:44,640 --> 02:16:46,840
Picasso wanted to have children
with Francoise,

1937
02:16:46,840 --> 02:16:48,960
but he has a superstition about it.

1938
02:16:50,280 --> 02:16:51,960
During her first pregnancy,

1939
02:16:51,960 --> 02:16:54,600
he does not want her
to see an obstetrician.

1940
02:16:54,600 --> 02:16:57,680
He thinks going to an obstetrician
may mean that things
won't turn out well.

1941
02:16:57,680 --> 02:17:01,600
"No, why don't you go get
psychoanalysed, instead, by Lacan?"

1942
02:17:01,600 --> 02:17:05,320
It is quite extraordinary
that Picasso recommended Lacan -

1943
02:17:05,320 --> 02:17:09,720
the leading psychoanalyst
of the time, the pupil of Freud -

1944
02:17:09,720 --> 02:17:12,400
to be her doctor.

1945
02:17:12,400 --> 02:17:15,960
It says a lot about Picasso's
fear of illness, dislike of

1946
02:17:15,960 --> 02:17:18,880
any kind of medical situation
whatsoever.

1947
02:17:20,600 --> 02:17:22,000
It also shows, frankly,

1948
02:17:22,000 --> 02:17:26,360
his cavalier disregard for his wife
and her wellbeing.

1949
02:17:26,360 --> 02:17:28,560
"About a week before
the baby was to be born,

1950
02:17:28,560 --> 02:17:30,840
"I was beginning
to be quite excited

1951
02:17:30,840 --> 02:17:34,240
"and I decided it was time
to do something.

1952
02:17:34,240 --> 02:17:37,160
"Pablo called Dr Lacan,
who was astounded to learn

1953
02:17:37,160 --> 02:17:40,520
"that I hadn't been seeing
an obstetrician.

1954
02:17:40,520 --> 02:17:45,480
"The baby, a boy, was born without
difficulty on May 15th, 1947.

1955
02:17:48,200 --> 02:17:51,480
"Pablo wanted him to be named Pablo,
but, since his first son

1956
02:17:51,480 --> 02:17:54,520
"had been named Paul, I thought
we should try something different,

1957
02:17:54,520 --> 02:17:56,840
"and so we named the baby Claude."

1958
02:18:04,800 --> 02:18:07,120
I think it was a kind of
carefree time -

1959
02:18:07,120 --> 02:18:10,720
having one boy
and then me coming along.

1960
02:18:13,120 --> 02:18:16,160
They'd been through
such hardship during the war

1961
02:18:16,160 --> 02:18:20,640
that, suddenly, everything seemed
easy and nice and positive.

1962
02:18:28,200 --> 02:18:32,680
But it was always very present
that there were, to me,

1963
02:18:32,680 --> 02:18:34,280
two sides to him.

1964
02:18:38,800 --> 02:18:40,360
You couldn't go out in the street -

1965
02:18:40,360 --> 02:18:43,840
the minute we stopped
in a restaurant or in a cafe,

1966
02:18:43,840 --> 02:18:46,320
people would start gathering
in front of us

1967
02:18:46,320 --> 02:18:49,440
and start asking for autographs
and all of that.

1968
02:18:49,440 --> 02:18:53,520
So it was pretty much
like having a rock star as a father.

1969
02:18:57,840 --> 02:19:01,640
Picasso is absolutely
at the height of his powers.

1970
02:19:01,640 --> 02:19:03,680
Loved and known by everyone.

1971
02:19:03,680 --> 02:19:06,120
The most famous artist in the world.

1972
02:19:08,080 --> 02:19:11,400
For a man of his years,

1973
02:19:11,400 --> 02:19:14,280
how could he remake himself again?

1974
02:19:30,640 --> 02:19:34,160
He's working on these short films -

1975
02:19:34,160 --> 02:19:37,760
the most well-known,
Visite a Picasso, in which he

1976
02:19:37,760 --> 02:19:40,880
is painting on glass.

1977
02:19:40,880 --> 02:19:43,720
And we are viewing

1978
02:19:43,720 --> 02:19:47,320
both the process and the man

1979
02:19:47,320 --> 02:19:50,040
as these works are being created.

1980
02:19:53,280 --> 02:19:57,680
There is an exquisite beauty
in the process,

1981
02:19:57,680 --> 02:20:00,840
as much as there is
in the completed work.

1982
02:20:11,480 --> 02:20:14,640
Many artists aren't keen to have

1983
02:20:14,640 --> 02:20:17,360
people actually observing
their processes.

1984
02:20:17,360 --> 02:20:22,240
But Picasso, particularly
in this period, was open to it.

1985
02:20:28,240 --> 02:20:31,920
And then there's this documentary,
The Mystery of Picasso,

1986
02:20:31,920 --> 02:20:34,960
in which we are watching
these things actually form

1987
02:20:34,960 --> 02:20:37,600
as if by magic on white paper.

1988
02:20:40,800 --> 02:20:42,920
When my grandfather decided to work

1989
02:20:42,920 --> 02:20:45,240
on Le Mystere Picasso,

1990
02:20:45,240 --> 02:20:48,120
it was a moment in life
for my mother...

1991
02:20:49,200 --> 02:20:51,480
..Maya.

1992
02:20:51,480 --> 02:20:54,840
She was the first daughter of
Pablo and Marie-Therese Walter.

1993
02:20:54,840 --> 02:20:57,520
It was exciting for her
to go to the studio

1994
02:20:57,520 --> 02:20:59,840
and to be his assistant.

1995
02:20:59,840 --> 02:21:03,280
She was close to him,
listening to his comment.

1996
02:21:03,280 --> 02:21:08,000
My mother told me that it was
stunning to see how her father was,

1997
02:21:08,000 --> 02:21:11,640
at the age of 70 years old,
reinventing something.

1998
02:21:15,480 --> 02:21:19,800
So, you are really seeing
how an artist is moving

1999
02:21:19,800 --> 02:21:21,800
from a fish to a bird...

2000
02:21:23,120 --> 02:21:25,760
..to a person, within minutes.

2001
02:21:29,000 --> 02:21:32,640
He's not announcing
what he's going to do -

2002
02:21:32,640 --> 02:21:37,080
it's just his brain working
maybe working faster than himself.

2003
02:21:37,080 --> 02:21:38,920
It was never seen before.

2004
02:21:40,640 --> 02:21:44,160
For sure, an artist doesn't
like to reveal his creation process.

2005
02:21:44,160 --> 02:21:48,040
But, for Pablo, it was also
a way to control his image.

2006
02:21:49,760 --> 02:21:54,200
It shows a very canny, I think,
form of self-marketing.

2007
02:21:54,200 --> 02:21:56,840
He realised, I think,
how powerful the media was.

2008
02:21:56,840 --> 02:22:00,840
People now know about marketing
themselves as artist rock stars.

2009
02:22:00,840 --> 02:22:03,080
But Picasso, arguably,
was one of the first.

2010
02:22:04,720 --> 02:22:08,480
I think that he is the first
painter who becomes a star.

2011
02:22:08,480 --> 02:22:12,080
He's not just a painter
or an artist -

2012
02:22:12,080 --> 02:22:13,800
he is a star.

2013
02:22:16,280 --> 02:22:20,360
But things started getting
difficult for my mother.

2014
02:22:22,360 --> 02:22:25,360
Their relationship
was very demanding.

2015
02:22:27,840 --> 02:22:29,800
She is running the household,

2016
02:22:29,800 --> 02:22:33,880
she is dealing with the money.
She's buying the bullfighting
tickets, which, let me tell you,

2017
02:22:33,880 --> 02:22:37,400
is not a small responsibility
in the world of Picasso.

2018
02:22:45,800 --> 02:22:48,240
TRANSLATED FROM FRENCH:

2019
02:23:10,920 --> 02:23:12,920
There are
a number of pressure points.

2020
02:23:12,920 --> 02:23:16,120
There is the extreme conditions
under which anyone who lives

2021
02:23:16,120 --> 02:23:17,400
with Picasso has to live.

2022
02:23:18,720 --> 02:23:21,320
You have to really go along
with his pace of life

2023
02:23:21,320 --> 02:23:23,400
and his decisions.

2024
02:23:24,960 --> 02:23:29,480
There's a great amount of emotional
cruelty, I think we can easily say,

2025
02:23:29,480 --> 02:23:31,760
and controlling behaviours.

2026
02:23:31,760 --> 02:23:34,720
He is leaning away from the family,

2027
02:23:34,720 --> 02:23:37,160
he's leaning away from her,
and he's doing things

2028
02:23:37,160 --> 02:23:40,560
that are devastating
and sort of openly insulting.

2029
02:23:40,560 --> 02:23:42,600
And there are also affairs.

2030
02:23:45,280 --> 02:23:48,760
"In the spring, he went
from one bullfight to another.

2031
02:23:48,760 --> 02:23:53,360
"The intervals between sprinkled
liberally with amorous intrigues."

2032
02:24:12,440 --> 02:24:14,120
TRANSLATED FROM FRENCH:

2033
02:24:37,920 --> 02:24:40,360
My connection with Picasso -

2034
02:24:40,360 --> 02:24:45,360
I think he came down to Arles
for the bullfight.

2035
02:24:45,360 --> 02:24:47,200
My husband was there -

2036
02:24:47,200 --> 02:24:51,400
Lucien Clergue,
very famous photographer.

2037
02:25:02,160 --> 02:25:04,920
MUSIC: Zou Bisou Bisou

2038
02:25:08,480 --> 02:25:10,880
SHE LAUGHS

2039
02:25:15,520 --> 02:25:18,080
"In 1954, there was a silhouette

2040
02:25:18,080 --> 02:25:20,520
"he used to see outside his studio.

2041
02:25:20,520 --> 02:25:24,680
"It belonged to a girl named
Sylvette David,

2042
02:25:24,680 --> 02:25:28,240
"who had a blonde ponytail
and very pictorial features."

2043
02:25:28,240 --> 02:25:30,000
# Zou bisou bisou

2044
02:25:31,880 --> 02:25:34,320
# Zou bisou bisou
Zou bisou

2045
02:25:34,320 --> 02:25:36,560
# Zou bisou
Means that I love you. #

2046
02:25:36,560 --> 02:25:38,080
Picasso saw me, then.

2047
02:25:38,080 --> 02:25:43,360
He must have asked somebody who is
that girl, because he knew my name

2048
02:25:43,360 --> 02:25:46,320
and he said,
"I want to paint Sylvette."

2049
02:25:46,320 --> 02:25:48,080
I was 19.

2050
02:25:48,080 --> 02:25:52,440
He said, "I love the long hair
and the..." Yeah.

2051
02:25:54,320 --> 02:25:57,520
Well, he didn't say about my face,
no.

2052
02:25:57,520 --> 02:26:00,920
He didn't. He just talked
about the ponytail.

2053
02:26:00,920 --> 02:26:04,240
You can see it.
It's very high up, on top.

2054
02:26:04,240 --> 02:26:07,200
Normally, they had it lower down.

2055
02:26:07,200 --> 02:26:10,520
And that's what Picasso liked,
really.

2056
02:26:11,800 --> 02:26:15,920
He was fascinated,
and that's why he painted me.

2057
02:26:17,480 --> 02:26:19,400
He was friendly,

2058
02:26:19,400 --> 02:26:21,960
clean, good-looking,

2059
02:26:21,960 --> 02:26:23,600
and beautiful eyes.

2060
02:26:23,600 --> 02:26:26,800
I'll never forget
his strong, dark eyes.

2061
02:26:26,800 --> 02:26:28,720
But very direct, he was,

2062
02:26:28,720 --> 02:26:31,280
and I looked at him without fear.

2063
02:26:32,720 --> 02:26:37,320
We sat together in that studio
without a word.

2064
02:26:37,320 --> 02:26:41,640
Silence. And then he asked me,
"Would you like me to pay you?"

2065
02:26:41,640 --> 02:26:44,600
And I said, "No, I don't
want to be paid

2066
02:26:44,600 --> 02:26:47,440
"because I'm happy to sit for you,"

2067
02:26:47,440 --> 02:26:52,240
thinking if he pays me,
then I have to get undressed.

2068
02:26:53,360 --> 02:26:55,280
But he never touched me.

2069
02:26:55,280 --> 02:26:59,040
Always very friendly and joyful.

2070
02:26:59,040 --> 02:27:01,440
He was a kind man, really.

2071
02:27:01,440 --> 02:27:05,240
I don't know why it didn't work
with the women.

2072
02:27:07,440 --> 02:27:10,440
"Undoubtedly he wanted
to make portraits of her,

2073
02:27:10,440 --> 02:27:14,040
"but I know he also hoped that
I might think twice about leaving

2074
02:27:14,040 --> 02:27:16,960
"if I realised there was
someone else so close at hand

2075
02:27:16,960 --> 02:27:20,040
"who could step into
at least one pair of my shoes.

2076
02:27:20,040 --> 02:27:23,840
"But I encouraged him to go on
and make more portraits of her.

2077
02:27:23,840 --> 02:27:26,520
"For I found her
as charming as he did,

2078
02:27:26,520 --> 02:27:31,120
"and I made it a point to never be
around while she was posing for him.

2079
02:27:31,120 --> 02:27:34,080
"One day he reproached me.

2080
02:27:34,080 --> 02:27:36,480
"'You don't seem
at all unhappy about it.

2081
02:27:36,480 --> 02:27:39,840
"'You should refuse to admit
another face into my painting.

2082
02:27:39,840 --> 02:27:42,360
"'You are a monster of
indifference.'"

2083
02:27:43,560 --> 02:27:45,280
The thing about Francoise Gilot is

2084
02:27:45,280 --> 02:27:47,120
she has an enormous amount
of dignity.

2085
02:27:47,120 --> 02:27:50,520
She is the opposite of
an abject woman.

2086
02:27:50,520 --> 02:27:52,360
But she wants the relationship
to work.

2087
02:27:52,360 --> 02:27:54,600
She doesn't want it
to end like this.

2088
02:27:54,600 --> 02:27:56,400
It just becomes untenable.

2089
02:27:56,400 --> 02:27:58,000
She becomes too unhappy.

2090
02:27:59,880 --> 02:28:02,880
"I realised, as I thought
it over, that Pablo had never

2091
02:28:02,880 --> 02:28:04,800
"been able to stand the company

2092
02:28:04,800 --> 02:28:06,880
of a woman for any sustained period.

2093
02:28:06,880 --> 02:28:09,080
"He had insisted I have children

2094
02:28:09,080 --> 02:28:11,360
"because I was not enough of a woman.

2095
02:28:11,360 --> 02:28:14,080
"And now that I had them,
it began to be clear

2096
02:28:14,080 --> 02:28:16,240
"that he didn't care a bit for it,

2097
02:28:16,240 --> 02:28:20,040
"and I began to do something
terribly feminine and, for me,

2098
02:28:20,040 --> 02:28:24,760
"most unusual- I cried a good part
of the time.

2099
02:28:24,760 --> 02:28:26,920
"I remember sitting there
and crying steadily

2100
02:28:26,920 --> 02:28:28,960
"with only an occasional let-up.

2101
02:28:30,240 --> 02:28:33,040
"Pablo found it very stimulating."

2102
02:28:35,800 --> 02:28:38,840
I think that when she decided
she was going to leave him,

2103
02:28:38,840 --> 02:28:41,080
it took her a while
to make that decision.

2104
02:28:41,080 --> 02:28:44,160
Obviously, she didn't take
it just in a day,

2105
02:28:44,160 --> 02:28:46,920
and she decided she was going
to move to Paris

2106
02:28:46,920 --> 02:28:51,160
and take Claude and I, and do work
on her career as a painter.

2107
02:28:55,440 --> 02:28:58,080
My father was very upset.

2108
02:28:59,680 --> 02:29:03,040
"'If you want to do me one last
favour', he said,

2109
02:29:03,040 --> 02:29:06,400
"'you can open the bullfight.
You're going out of my life,

2110
02:29:06,400 --> 02:29:09,480
"'but you deserve to leave
with the honours of war.

2111
02:29:09,480 --> 02:29:12,360
"'For me, the bull is the proudest
symbol of all,

2112
02:29:12,360 --> 02:29:14,800
"'and your symbol is the horse.

2113
02:29:14,800 --> 02:29:18,600
"'I want our two symbols to face
each other in that ritual way.'"

2114
02:29:21,280 --> 02:29:24,400
So, my mother
was a very good horse rider

2115
02:29:24,400 --> 02:29:29,240
and she knew how to train the horses
to do special steps and all of that.

2116
02:29:29,240 --> 02:29:31,800
And my father was
rather fascinated by that.

2117
02:29:34,360 --> 02:29:37,920
It's a moment of glory. I mean,
Picasso himself seems to admire it.

2118
02:29:37,920 --> 02:29:42,160
He has her ride into a bullfight
after the relationship is separated.

2119
02:29:42,160 --> 02:29:44,040
He wants to symbolise this, as well,

2120
02:29:44,040 --> 02:29:46,240
and he is paying homage
to her power.

2121
02:29:48,320 --> 02:29:51,920
It's quite wonderful
and she looks extremely beautiful,

2122
02:29:51,920 --> 02:29:54,840
and it's a very special moment.

2123
02:29:54,840 --> 02:29:58,800
She decided she would do
this as a gesture to say goodbye

2124
02:29:58,800 --> 02:30:01,160
in a grand way.

2125
02:30:01,160 --> 02:30:03,960
She's leaving, but she's not
leaving like a little mouse -

2126
02:30:03,960 --> 02:30:06,520
she's leaving with grand style.

2127
02:30:10,240 --> 02:30:13,880
She was the only one
that left Picasso.

2128
02:30:13,880 --> 02:30:15,400
That is really significant.

2129
02:30:15,400 --> 02:30:18,600
That's proof that she
never...never kind of...

2130
02:30:18,600 --> 02:30:20,480
..never gave up her own spirit.

2131
02:30:22,320 --> 02:30:26,320
It was a huge pain for Picasso.

2132
02:30:26,320 --> 02:30:30,000
It was with something really
disastrous.

2133
02:30:31,200 --> 02:30:37,160
And so he just focused
on what he could do the best,

2134
02:30:37,160 --> 02:30:40,080
and the best he could do is to
continue working.

2135
02:30:40,080 --> 02:30:43,400
BELL RINGS
BIRDSONG

2136
02:30:54,640 --> 02:30:56,880
TRANSLATED FROM FRENCH:

2137
02:31:17,320 --> 02:31:21,640
The discovery of the ceramics was
another proof of his curiosity.

2138
02:31:23,640 --> 02:31:26,560
Making ceramics
was a very innovative way

2139
02:31:26,560 --> 02:31:29,800
to reinvent his passion
for sculpture.

2140
02:31:29,800 --> 02:31:34,880
He could transform a pitcher
into something more seductive.

2141
02:31:53,000 --> 02:31:56,880
"During the fall of 1952, a young
woman named Jacqueline Roque

2142
02:31:56,880 --> 02:31:59,440
"came to work at the pottery studio.

2143
02:32:01,000 --> 02:32:04,840
"She was just over 5ft tall
with a rather little, cute head,

2144
02:32:04,840 --> 02:32:07,200
"high cheekbones and blue eyes."

2145
02:32:50,920 --> 02:32:55,360
So this is a sketchbook
of Picasso from 1954.

2146
02:32:58,080 --> 02:33:01,880
These are very beautiful
ink drawings

2147
02:33:01,880 --> 02:33:04,880
and you can see the face
of Jacqueline.

2148
02:33:04,880 --> 02:33:09,080
And, here, it's turning

2149
02:33:09,080 --> 02:33:13,240
and then just the profile.

2150
02:33:13,240 --> 02:33:16,640
But there's ink all over...

2151
02:33:18,160 --> 02:33:20,680
..and there's scratches.

2152
02:33:22,880 --> 02:33:25,040
And you can see

2153
02:33:25,040 --> 02:33:28,080
this very beautiful profile.

2154
02:34:04,040 --> 02:34:06,520
Jacqueline had turned up
just at the right moment,

2155
02:34:06,520 --> 02:34:09,880
because he could turn her
into a Spanish,

2156
02:34:09,880 --> 02:34:12,400
elegant, aristocratic figure.

2157
02:34:14,800 --> 02:34:20,160
She was a woman
who was entirely devoted to him

2158
02:34:20,160 --> 02:34:21,840
and, by all accounts,

2159
02:34:21,840 --> 02:34:25,640
a charming, wonderful woman.

2160
02:34:36,360 --> 02:34:39,000
I was very close with Jacqueline.

2161
02:34:40,200 --> 02:34:43,720
She was so affectionate with me.

2162
02:34:47,560 --> 02:34:51,480
And when I had Anne and
Olivia, my daughters,

2163
02:34:51,480 --> 02:34:55,480
then she wanted to be the godmother,
Picasso the godfather.

2164
02:34:58,520 --> 02:35:02,040
And Jacqueline,
she bought a coat for Picasso

2165
02:35:02,040 --> 02:35:05,080
and one for Olivia the same.

2166
02:35:08,920 --> 02:35:11,680
You know, it's difficult to explain.

2167
02:35:11,680 --> 02:35:16,240
They were just happy
to be there together.

2168
02:35:35,120 --> 02:35:39,720
In the 1950s, Picasso was
approaching his 75th year.

2169
02:35:41,080 --> 02:35:43,560
His father died at the age of 75,

2170
02:35:43,560 --> 02:35:46,360
and it was a moment in his life
when he was taking stock.

2171
02:35:53,680 --> 02:35:56,440
Now is this extraordinary moment

2172
02:35:56,440 --> 02:36:01,760
when New York takes over from Paris
as the centre of modern art.

2173
02:36:04,960 --> 02:36:08,640
The artists who are now
being revered across the Atlantic.

2174
02:36:08,640 --> 02:36:13,760
Jackson Pollock - Jack the ripper,
as it were, or dripper.

2175
02:36:13,760 --> 02:36:16,000
De Kooning, as well,

2176
02:36:16,000 --> 02:36:18,000
and Francis Bacon.

2177
02:36:21,160 --> 02:36:25,040
Picasso is beginning to feel
threatened that he's dated.

2178
02:36:25,040 --> 02:36:29,560
It was a time where Picasso
felt challenged

2179
02:36:29,560 --> 02:36:33,640
by the world around him, about his
own sense of his relevancy,

2180
02:36:33,640 --> 02:36:35,560
and he wanted to prove himself.

2181
02:36:38,880 --> 02:36:41,480
Picasso suddenly realises

2182
02:36:41,480 --> 02:36:44,880
that that generation needs to see

2183
02:36:44,880 --> 02:36:47,800
that he can still kick ass.

2184
02:36:47,800 --> 02:36:51,080
And, perversely, what he does
is he goes back

2185
02:36:51,080 --> 02:36:56,520
and puts himself against the great
artists of the history of art.

2186
02:36:57,880 --> 02:37:01,560
He still had
the cojones - the balls -

2187
02:37:01,560 --> 02:37:06,080
to take on some of the greatest
works in the history of Spanish art.

2188
02:37:13,000 --> 02:37:15,480
He hasn't been back to Spain
for a long time.

2189
02:37:15,480 --> 02:37:17,440
There was Franco, who was there.

2190
02:37:17,440 --> 02:37:19,600
There is this frustration.

2191
02:37:19,600 --> 02:37:24,480
It's a country that he completely
loves and he misses.

2192
02:37:24,480 --> 02:37:27,240
It's a way for him to reconnect
him with his roots.

2193
02:37:30,960 --> 02:37:33,800
And to revive memories of
when he discovered,

2194
02:37:33,800 --> 02:37:36,520
for the first time,
the works of Velazquez.

2195
02:37:40,720 --> 02:37:45,520
Velazquez's painting Las Meninas
preoccupied any Spanish painter,

2196
02:37:45,520 --> 02:37:49,720
because it did what Picasso sought
to do, which is startle the viewer,

2197
02:37:49,720 --> 02:37:52,320
enter the imagination,
enter the nervous system.

2198
02:37:58,120 --> 02:38:00,760
It's a court painting,
but it's using a mirror

2199
02:38:00,760 --> 02:38:03,200
at a certain point
to depict a figure.

2200
02:38:03,200 --> 02:38:06,120
It also has the painter
included in the painting,

2201
02:38:06,120 --> 02:38:08,120
and it's large and it's ambitious.

2202
02:38:08,120 --> 02:38:10,720
You cannot make
a single meaning from it.

2203
02:38:10,720 --> 02:38:16,120
And, of course, visually, it would
have fascinated Picasso.

2204
02:38:25,240 --> 02:38:27,200
TRANSLATION:

2205
02:38:59,160 --> 02:39:01,040
Jacqueline, who tells friends

2206
02:39:01,040 --> 02:39:04,480
it's like the abominable snowman
thumping around upstairs.

2207
02:39:07,000 --> 02:39:09,480
It's about two months
where he's doing

2208
02:39:09,480 --> 02:39:11,760
one or two paintings a day.

2209
02:39:11,760 --> 02:39:13,400
Different versions.

2210
02:39:17,040 --> 02:39:19,280
The first version is
the most complex -

2211
02:39:19,280 --> 02:39:22,800
black and white, landscape, scale,

2212
02:39:22,800 --> 02:39:26,920
and not far off the size
of the original.

2213
02:39:26,920 --> 02:39:28,720
And then he just breaks it down.

2214
02:39:30,560 --> 02:39:32,000
He deconstructs,

2215
02:39:32,000 --> 02:39:33,480
cannibalises,

2216
02:39:33,480 --> 02:39:35,160
pulls them apart,

2217
02:39:35,160 --> 02:39:37,280
sees how the form works,

2218
02:39:37,280 --> 02:39:40,440
the colour works -
just basically shredding

2219
02:39:40,440 --> 02:39:42,080
and rebuilding.

2220
02:39:44,320 --> 02:39:47,880
And some of them
with a Cubist lens put on it.

2221
02:39:47,880 --> 02:39:51,000
Then there'll be a kind
of expressionist lens put on it.

2222
02:39:51,000 --> 02:39:53,640
And he works with very, very
jarring colours.

2223
02:39:57,520 --> 02:40:00,920
Playing with the ideas
of a previous age.

2224
02:40:12,040 --> 02:40:15,360
One of the last images of the
Las Meninas series

2225
02:40:15,360 --> 02:40:17,720
is a portrait of Jacqueline...

2226
02:40:19,280 --> 02:40:20,520
..framed within a frame.

2227
02:40:22,840 --> 02:40:24,920
A very brooding image.

2228
02:40:26,840 --> 02:40:29,320
It's like the mirror
in the back of Las Meninas,

2229
02:40:29,320 --> 02:40:32,000
where we see the Spanish Queen.

2230
02:40:33,240 --> 02:40:38,400
Almost as if that's his homage
to her as his queen.

2231
02:40:45,000 --> 02:40:47,600
Jacqueline, in many ways,
was the gatekeeper.

2232
02:40:48,800 --> 02:40:53,720
Picasso was now so famous
that if he went out in the streets,

2233
02:40:53,720 --> 02:40:56,000
there was never going to be
any privacy there.

2234
02:41:03,520 --> 02:41:05,680
The book came out this week

2235
02:41:05,680 --> 02:41:09,840
and it's a book by one
of Picasso's mistresses,

2236
02:41:09,840 --> 02:41:13,520
and it's called My Life With Picasso
by Francoise Gilot.

2237
02:41:16,720 --> 02:41:18,680
It was a bombshell.

2238
02:41:18,680 --> 02:41:21,200
It was like something
you don't have to touch.

2239
02:41:21,200 --> 02:41:24,680
It is an absolutely
spectacular document.

2240
02:41:25,720 --> 02:41:29,640
Everybody had to choose
a side - kind of bang, overnight.

2241
02:41:29,640 --> 02:41:33,600
It was considered
to be an outrageous betrayal

2242
02:41:33,600 --> 02:41:36,160
of the intimacy they'd had together.

2243
02:41:41,520 --> 02:41:44,320
It is an unparalleled record
of Picasso the man,

2244
02:41:44,320 --> 02:41:47,360
because you're seeing him
as no-one else could see him -

2245
02:41:47,360 --> 02:41:50,760
from the perspective
of domestic intimacy -

2246
02:41:50,760 --> 02:41:53,440
and so you get the good,
the bad and the ugly.

2247
02:41:53,440 --> 02:41:56,680
For me, when I read the book,
I was saying, "Ah, so much

2248
02:41:56,680 --> 02:41:58,760
"noise for nothing!"

2249
02:41:58,760 --> 02:42:03,400
"He came up behind me
and put his arms around me.

2250
02:42:03,400 --> 02:42:06,960
"He moved his hands up and lightly
cupped them over my breasts.

2251
02:42:06,960 --> 02:42:11,640
"I didn't move.
'I want to see if your body
corresponds to the mental image

2252
02:42:11,640 --> 02:42:13,280
"'I have of it.

2253
02:42:13,280 --> 02:42:16,880
"'Also, I want to see
how it relates to your head.'"

2254
02:42:19,600 --> 02:42:23,240
"I stood there and he undressed me."

2255
02:42:23,240 --> 02:42:25,840
Does this help us at all
to know more about Picasso?

2256
02:42:25,840 --> 02:42:27,720
It's fine. Everybody wants to know

2257
02:42:27,720 --> 02:42:30,080
what the great men
are like in the sack.

2258
02:42:33,720 --> 02:42:36,800
My mother wanted to write
a book about my father

2259
02:42:36,800 --> 02:42:38,320
while my father was alive.

2260
02:42:38,320 --> 02:42:41,840
She thought it would not be fair
to do it after he passed away.

2261
02:42:41,840 --> 02:42:45,520
So since he was getting older,
she thought

2262
02:42:45,520 --> 02:42:47,240
that she should write the book.

2263
02:42:49,680 --> 02:42:52,400
By the time it was supposed
to come out in France,

2264
02:42:52,400 --> 02:42:55,880
then there was a big movement
organised by Jacqueline

2265
02:42:55,880 --> 02:43:00,720
to have all the artists in Europe
make a petition against it.

2266
02:43:02,200 --> 02:43:04,080
It's not a book against my father.

2267
02:43:04,080 --> 02:43:07,240
It was...read like this

2268
02:43:07,240 --> 02:43:10,360
because Jacqueline decided
that's how it should be read.

2269
02:43:12,200 --> 02:43:17,480
It's a very in-depth portrait
that nobody else could have told.

2270
02:43:19,160 --> 02:43:23,200
He was presented as a man,
not as a god.

2271
02:43:23,200 --> 02:43:28,000
So, for people who kind of deified
my father, then it was wrong.

2272
02:43:28,000 --> 02:43:31,040
But, actually, she didn't say
anything that would make

2273
02:43:31,040 --> 02:43:33,360
him less extraordinary.

2274
02:43:45,720 --> 02:43:49,560
I don't think he ever read it.
But I think that it's quite normal

2275
02:43:49,560 --> 02:43:54,080
that if you use your life
as your inspiration for your work,

2276
02:43:54,080 --> 02:43:56,720
you don't want somebody else
to come and say

2277
02:43:56,720 --> 02:43:58,680
what the inspiration really was.

2278
02:43:58,680 --> 02:44:01,040
It's like, you know,
your little secrets.

2279
02:44:02,360 --> 02:44:04,760
So nobody likes
to have their secrets

2280
02:44:04,760 --> 02:44:06,480
being told to the world.

2281
02:44:09,560 --> 02:44:13,080
His reaction was just,
you know, crazy.

2282
02:44:13,080 --> 02:44:14,360
It was... He became mad.

2283
02:44:14,360 --> 02:44:17,680
And all the people around them,
when they were a couple,

2284
02:44:17,680 --> 02:44:21,800
took, you know, the position of
Picasso, so it was
a very tough time for her.

2285
02:44:25,280 --> 02:44:27,760
He didn't want this book out
and he did everything he could

2286
02:44:27,760 --> 02:44:31,000
to fight its publication.
He did not succeed.

2287
02:44:31,000 --> 02:44:35,240
But what he did was he cut his
two children with Francoise -

2288
02:44:35,240 --> 02:44:37,480
Claude and Paloma -
from his life utterly.

2289
02:44:41,680 --> 02:44:44,960
Claude and I, we'd spent all
our holidays with our father.

2290
02:44:47,440 --> 02:44:50,560
It was very difficult
not to see my father.

2291
02:44:50,560 --> 02:44:53,200
I mean, he was
so much part of my life.

2292
02:44:58,680 --> 02:45:01,000
Jacqueline went around
telling people

2293
02:45:01,000 --> 02:45:03,640
that if they said
good things about the book,

2294
02:45:03,640 --> 02:45:06,800
then they would never be allowed
into the house any longer.

2295
02:45:08,280 --> 02:45:11,800
She felt threatened by us,
one way or another.

2296
02:45:11,800 --> 02:45:14,640
And my father

2297
02:45:14,640 --> 02:45:19,120
wanted to keep on being able
to paint.

2298
02:45:19,120 --> 02:45:22,440
And I think that he felt
that he needed Jacqueline

2299
02:45:22,440 --> 02:45:26,040
to take care of him, and that if
Jacqueline didn't want us around,

2300
02:45:26,040 --> 02:45:28,520
then he was not
going to have us around.

2301
02:45:32,680 --> 02:45:36,240
Lots of people in the art world
were saying, "Oh, no, the children,

2302
02:45:36,240 --> 02:45:38,240
"they're so mean to their father.

2303
02:45:38,240 --> 02:45:40,880
"You see - they don't come
down to see him any longer."

2304
02:45:40,880 --> 02:45:43,760
I mean,
completely reversing the story.

2305
02:45:43,760 --> 02:45:47,880
So I made a point every year
to go down to my father's house

2306
02:45:47,880 --> 02:45:50,840
and ring the bell at least
three or four times,

2307
02:45:50,840 --> 02:45:53,040
until he finally passed away.

2308
02:46:08,880 --> 02:46:12,400
In the 1960s, Picasso was
totally obsessed about the fact

2309
02:46:12,400 --> 02:46:14,920
that he was going to die
and that he needed to use every

2310
02:46:14,920 --> 02:46:16,640
minute on his work,

2311
02:46:16,640 --> 02:46:20,040
and that everything else
was not worth thinking about.

2312
02:46:25,520 --> 02:46:29,320
It's probably the most interesting
moment in Picasso's life.

2313
02:46:31,000 --> 02:46:34,720
There is this urge
to produce something meaningful.

2314
02:46:34,720 --> 02:46:38,800
There is the series of prints -
reminds you that Picasso is

2315
02:46:38,800 --> 02:46:42,280
one of the greatest printmakers
of all time.

2316
02:46:47,880 --> 02:46:51,160
As you get older,
you can capture memories.

2317
02:46:51,160 --> 02:46:53,960
The father who taught him
how to paint...

2318
02:46:56,040 --> 02:46:59,560
..the mother whose name he took,

2319
02:46:59,560 --> 02:47:03,640
the tragedy with his little sister,
who died early.

2320
02:47:04,680 --> 02:47:09,800
He's going to the depths
of his emotions and memories.

2321
02:47:09,800 --> 02:47:14,640
That's what I think makes
these years particularly powerful.

2322
02:47:16,440 --> 02:47:19,880
And, also, the theme of eroticism
is very present.

2323
02:47:22,000 --> 02:47:24,280
When they were being shown
at the gallery,

2324
02:47:24,280 --> 02:47:27,120
you had to be more than
18 to see them.

2325
02:47:29,440 --> 02:47:33,440
Every artist is confronted
to this moment in life

2326
02:47:33,440 --> 02:47:36,680
when there is a shift
of your sexual drive.

2327
02:47:41,560 --> 02:47:44,880
But, nevertheless, he's able,
through these prints,

2328
02:47:44,880 --> 02:47:48,280
to represent the same energy
that was there before.

2329
02:47:50,720 --> 02:47:53,120
And that idea of Picasso
as an old man

2330
02:47:53,120 --> 02:47:55,280
back with the female body -

2331
02:47:55,280 --> 02:47:59,400
he's acting out not impotence,
but a dream of potence.

2332
02:48:02,640 --> 02:48:05,080
When you're that old
and you're painting,

2333
02:48:05,080 --> 02:48:07,280
who's going to criticise you?

2334
02:48:07,280 --> 02:48:10,960
Who's going to judge you?
Death, basically.

2335
02:48:10,960 --> 02:48:12,880
You're not making the paintings
to sell them.

2336
02:48:12,880 --> 02:48:14,480
You make the paintings to see them.

2337
02:48:17,440 --> 02:48:21,040
The late Picassos were also
extremely controversial.

2338
02:48:22,920 --> 02:48:25,000
And to be controversial
when you're over 80,

2339
02:48:25,000 --> 02:48:27,200
that's pretty good.

2340
02:48:34,080 --> 02:48:38,440
My father didn't want to hear
that he may die or be sick.

2341
02:48:38,440 --> 02:48:42,840
I mean, that was something
that he really ignored completely.

2342
02:48:45,000 --> 02:48:47,880
He was really afraid of death.

2343
02:48:47,880 --> 02:48:53,120
I think that he, essentially, wanted
to keep on painting for ever.

2344
02:49:03,320 --> 02:49:05,560
I've studied the late works
of my grandfather

2345
02:49:05,560 --> 02:49:08,360
and especially what we can call
self-portraits.

2346
02:49:08,360 --> 02:49:14,200
I spoke with people who were close
to him in those last moments

2347
02:49:14,200 --> 02:49:17,440
and they say that Pablo
was looking for something.

2348
02:49:23,000 --> 02:49:25,920
He did many self-portraits
during his whole life.

2349
02:49:29,520 --> 02:49:32,400
But, at the end,
the very last years,

2350
02:49:32,400 --> 02:49:37,320
he was aware of the skull appearing
more and more under the face.

2351
02:49:39,040 --> 02:49:44,640
His last self-portrait was also
giving a kind of a mirror to death.

2352
02:49:48,400 --> 02:49:50,920
It's extremely frightening.

2353
02:49:50,920 --> 02:49:54,200
You have two big holes
instead of eyes,

2354
02:49:54,200 --> 02:49:57,560
and it's probably because he is
realistic and he knows that,

2355
02:49:57,560 --> 02:50:01,440
sooner or later,
there will be, um, no more future.

2356
02:50:37,080 --> 02:50:39,280
FRENCH NEWS REPORT:

2357
02:51:08,760 --> 02:51:11,760
We knew that we couldn't
just go to the house,

2358
02:51:11,760 --> 02:51:15,160
because there would be an army of
journalists in front of the house

2359
02:51:15,160 --> 02:51:16,760
and it wouldn't be helpful.

2360
02:51:18,600 --> 02:51:22,200
But we did speak with Paulo,
who was inside,

2361
02:51:22,200 --> 02:51:25,880
and he said, you know, Jacqueline
is in such a state,

2362
02:51:25,880 --> 02:51:29,320
there's no way I can make you come,
so, voila.

2363
02:51:58,400 --> 02:52:02,880
There happened also something very,
very tragic with my half-brother.

2364
02:52:08,240 --> 02:52:10,720
Just after the death
of Pablo Picasso,

2365
02:52:10,720 --> 02:52:12,640
one of my cousins, Pablito,

2366
02:52:12,640 --> 02:52:17,120
went to the gate in Mougins
and he was declined.

2367
02:52:20,000 --> 02:52:22,600
He was very confused at that time.

2368
02:52:24,880 --> 02:52:28,080
I've been told that he went back
in the little village of Vallauris

2369
02:52:28,080 --> 02:52:31,480
with a sign saying
"I'm the grandson of Pablo Picasso

2370
02:52:31,480 --> 02:52:34,320
"and they denied me
the right to see him."

2371
02:52:34,320 --> 02:52:36,520
And, after, he killed himself.

2372
02:52:41,760 --> 02:52:48,760
My father was very silent
about that part of his life.

2373
02:52:48,760 --> 02:52:50,840
It's pretty tragic.

2374
02:52:50,840 --> 02:52:53,320
Your father passed away

2375
02:52:53,320 --> 02:52:56,320
and your son commits suicide

2376
02:52:56,320 --> 02:52:59,680
because of that situation.

2377
02:52:59,680 --> 02:53:05,120
You can't really recover
from those...those events.

2378
02:54:21,840 --> 02:54:24,960
When you look across the whole
trajectory of Picasso's life,

2379
02:54:24,960 --> 02:54:26,600
there's a lot of tragedy.

2380
02:54:28,280 --> 02:54:30,000
And, in his relationships,

2381
02:54:30,000 --> 02:54:33,120
so much abusive behaviour.

2382
02:54:42,080 --> 02:54:44,480
That's why people
are questioning him now.

2383
02:54:46,240 --> 02:54:49,440
It's a difficult thing for me
to reconcile, because I admire him

2384
02:54:49,440 --> 02:54:51,640
so much in terms of what he created.

2385
02:54:55,760 --> 02:54:58,200
It's difficult to say this,

2386
02:54:58,200 --> 02:55:01,080
but I feel that, in many ways,
we have to separate

2387
02:55:01,080 --> 02:55:03,640
the work from the personality.

2388
02:55:03,640 --> 02:55:08,240
I'm not saying that excuses some
of the things that he may have done,

2389
02:55:08,240 --> 02:55:11,760
but don't get the two overly
mixed up.

2390
02:55:21,280 --> 02:55:24,320
There have been something like 4,000
different books

2391
02:55:24,320 --> 02:55:27,200
about Pablo Picasso,
hundreds of exhibitions.

2392
02:55:28,560 --> 02:55:31,760
When I see people queuing in front
of the museum in Barcelona -

2393
02:55:31,760 --> 02:55:34,120
or in Malaga or in Paris -

2394
02:55:34,120 --> 02:55:37,640
I'm always thinking, OK, another
exhibition, it's going to be boring.

2395
02:55:37,640 --> 02:55:40,440
But, no. I see artworks
I've never seen before.

2396
02:55:43,400 --> 02:55:45,800
He arrived wide-eyed
and changed the world.

2397
02:55:47,640 --> 02:55:49,280
That's where he stands.

2398
02:55:49,280 --> 02:55:52,760
The most famous
and the most important artist.

2399
02:55:53,880 --> 02:55:58,240
When I think of my father,
I think of him as both

2400
02:55:58,240 --> 02:56:01,960
Pablo Picasso, the painter,
and my father.

2401
02:56:01,960 --> 02:56:05,360
You can't just say
he's a monster, or he's a genius.

2402
02:56:05,360 --> 02:56:07,440
He was a man.

2403
02:56:08,960 --> 02:56:11,800
But he had the magic touch.

2404
02:56:11,800 --> 02:56:15,520
He was definitely the greatest
painter of the century.

2405
02:56:19,000 --> 02:56:22,320
He's inventive, fearless,

2406
02:56:22,320 --> 02:56:25,720
very human, very passionate.

2407
02:56:25,720 --> 02:56:27,680
Sometimes dark,

2408
02:56:27,680 --> 02:56:31,120
and probably thrilled
by knowing that, today,

2409
02:56:31,120 --> 02:56:33,080
we talk about him so much.