62. Huffington, p. 254; see pp. 262-3 for Picasso’s cruel pitting of Dora against Marie-Therese, also pp. 300, 315 and 324.
63. James Lord, Picasso and Dora, pp. 238-9. For ten years her dreams were taken over by Picasso, she reported, p. 239. For Dora’s “nervous collapse” see p. 101f.
64. Huffington, p. 324; Lord, pp. 315, 319-20.
65. Rubin ed., Picasso and Portraiture, p. 390; Huffington, pp. 237f. Picasso is reported to have said to Andre Malraux that “Dora for me was always the weeping woman. Always. Then one day I was able to paint the weeping woman ... That’s all. It’s important because women are suffering machines”. He denied any sadism. Critics are reluctant to connect Picasso’s distortions of women to his own psychology. Of a particularly distorted portrait of Dora, Brigitte Leal says it appears first “as weeping woman, then as dog/woman glued to her chair of torture, and finally as cadaver, as crucified carcass, more and more disfigured and monstrous ...”. “It is certainly a vision of the world, the sign of universal catastrophe”. (Rubin ed., p. 396) Writing of the Expressive Heads 1937-1939, Elizabeth Cowling pursues the same rationale saying that the tears of women weeping might well be those shed by his mother for Spanish war suffering, and she offers an iconography of the virgin as mater dolorosa in support of a specifically Catholic response to political events. While true as far as it goes, broad thematic, historical and stylistic criticism draws the sting from the pathological origin of these portraits in Picasso’s personal course of development. Elizabeth Cowling, Picasso: Style and Meaning. London: Phaidon Press, 2002, p. 589f.
66. Huffington, p. 264.
67. Ibid., p. 277.
68. Franjoise Gilot and Carleton Lake, Life with Picasso (New York: McGraw-Hill, 1964) , p. 30f.
69. Huffington, p. 391; p. 434f; Gilot said that being unfair made Picasso feel like a primitive God, p. 331.
70. Gilot , p. 106.
71. Ibid., p. 84.
72. Ibid., p. 83; Gilot speaks of Picasso’s gentleness , p. 52, yet she describes a scene in which he threatened to throw her into the Seine , p. 107, and there is the notoriously abusive act in which he tried to “break” her by burning her face with a cigarette (Huffington, p. 308). That Picasso not only did harm to, but feared harm from Franjoise, is suggested by Woman with a Knife and Bull’s Head, June 6, 1946, illustrated in Rubin, p. 421.
73. Ibid., p. 341; Picasso rationalized his behavior with a sort of survival of the fittest doctrine: Life “is set up to automatically eliminate those who can’t adapt”, he told Gilot, p. 90.
74. Huffington, p. 371f.
75. Gilot, p. 50. It is generally agreed that images of the Minotaur served Picasso’s assertion of male potency. It may not be so readily accepted that the Minotaur masks ambivalent indecision about whether to love or hate women. Gilot’s report continues: Picasso looked at a print of his showing a Minotaur and a sleeping woman, remarking, “It’s hard to say whether he wants to wake her or kill her”.
76. Gilot, p. 242. Later in the narrative Gilot sees the pattern with still greater clarity: “He had left each of [his women], although each of them was so wrapped up in her own situation that she thought she was the only woman who had ever really counted for him ... I saw it as an historical pattern ... He himself had warned me that any love could last for only a predetermined period” (pp. 340-1).
77. Ibid., pp. 336-7.
78. Ibid., p. 349. This helps to explain the extreme distortions of Franjoise Gilot portraits of 1949f. See Mossinger, ed., Picasso et les Femmes, pp. 262-3.
79. Olivier Widmaier Picasso, Picasso: The Real Family Story, p. 86.
80. Gedo, p. 224.
81. Ibid., p. 225; Huffington remarks that of all Picasso’s women, Jacqueline Roque looked most like his mother, p. 439.
82. Marina Picasso, Picasso My Grandfather (New York: Riverhead Books, 2001), p. 111; See Huffington, p. 406.
83. Gedo, p. 224.
84. Rubin, Picasso and Portraiture, p. 458.
85. Ibid., p. 464.
86. Ibid., p. 476.
87. Mossinger, ed., Picasso et les Femmes, pp. 320, 323.
88. Huffington, pp. 414; She quotes Marina saying, “After the marriage [to Jacqueline] my grandfather seemed to lose his humanity”, p. 442.
89. Huffington, p. 441
90. Gedo, pp. 246-8.
91. Ibid., p. 225.
92. MacGregor-Hastie, p. 201.
93. Huffington, 300-301. Picasso often saw to the financial needs of ex wives and lovers, however he might be less generous with grown children and grandchildren.
94. Marina Picasso, Picasso, My Grandfather, p. 69.
95. Ibid., pp. 179-80.
96. Ibid., p. 181.
97. John E. Gedo, Portraits of the Artist: Psychoanalysis of Creativity and its Vicissitudes (New York: Guilford, 1983), p. 111.
98. Olivier Widmaier Picasso, Picasso: The Real Family Story, pp. 326, 327.
99.Ibid., p. 328-9.
100. The socio-cultural argument for rebellion is summarized by Richardson in the first two chapters of A Life of Picasso, vol. 1. See especially pp. 26-7 based on David G. Gilmour, Aggression and Community: Paradoxes of Andalusian Culture (Yale University Press, 1987).
101. Frank Brady, Hefner (New York: Ballantine Books, 1974), p. 7. From at least 1903 Picasso himself was something of a pornographer drawing simply to arouse. See, for example, “Erotic Drawings on Trade Cards”, Richardson, A Life, vol. I, p. 280.
102. Huffington, p. 422.
103. Ashton, Picasso on Art, p. 21. Picasso discouraged his public from looking for any particular “truth” in his paintings, claiming “Truth does not exist”.
104. Quoted by Frank Davis, “Picasso’s True Confessions”, Country Life, July 7, 1983, pp. 10-1. While it is said that Picasso denied such a statement (it is not included in Ashton’s collection, or given status by his biographers) words to this effect were certainly spoken by others. For instance Francois Mauriac said “I’ve never been able to escape the contradictory evidence of genius and imposter. I always had the impression of witnessing a criminal attempt masterminded by a clever sorcerer, with an almost supernatural glare of a hatred for the human face”. Quoted by Huffington, p. 441.
105. Ashton, p. 11; quoted in Markus Muller, ed., Pablo Picasso andMarie-Therese Walter, p. 197.
106. William Rubin, “Reflections on Picasso and Portraiture” in Picasso and Portraiture, p. 97.
107.Ibid., p. 97.
108. Ashton, Picasso on Art, p. 53.
109. Genevieve Laporte, Sunshine at Midnight, p. 14. The most he would say is “I love stark, desolate landscapes with bare rocks”.
110. James Lord, Picasso and Dora, p. 95. Picasso told Genevieve Laporte that he never loved Dora and accepted that he had precipitated her mental illness (Sunshine at Midnight, p. 69)
111. Genevieve Laporte, Sunshine at Midnight, p. 69. This statement, made about 1951, was taken as fanciful, its grain of truth unappreciated.
112. Jean-Paul Crespelle, Picasso and His Women, p. 214.
113.See “Jung on Picasso”, Appendix 5 in Patrick O’Brian, Picasso A Biography.
114. Ashton, Picasso on Art, p. 24.