{"id":117695,"date":"2017-11-09T10:00:56","date_gmt":"2017-11-09T15:00:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=117695"},"modified":"2023-06-12T15:27:30","modified_gmt":"2023-06-12T19:27:30","slug":"how-picasso-bled-the-women-in-his-life-for-art","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/11\/09\/how-picasso-bled-the-women-in-his-life-for-art\/","title":{"rendered":"How Picasso Bled the Women in His Life for Art"},"content":{"rendered":"

Sixteen years ago, Marina Picasso, one of Pablo Picasso\u2019s granddaughters, became the first family member to go public about how much her family had suffered under the artist\u2019s narcissism. \u201cNo one in my family ever managed to escape from the stranglehold of this genius,\u201d she wrote in her memoir, Picasso: My Grandfather.<\/em> \u201cHe needed blood to sign each of his paintings: my father\u2019s blood, my brother\u2019s, my mother\u2019s, my grandmother\u2019s, and mine. He needed the blood of those who loved him.\u201d<\/p>\n

After Jacqueline Roque, Picasso\u2019s second wife, barred much of the family from the artist\u2019s funeral, the family fell fully to pieces: Pablito, Picasso\u2019s grandson, drank a bottle of bleach and died; Paulo, Picasso\u2019s son, died of deadly alcoholism born of depression. Marie-Th\u00e9r\u00e8se Walter, Picasso\u2019s young lover between his first wife, Olga Khokhlova, and his next mistress, Dora Maar, later hanged\u00a0herself; even Roque eventually fatally shot herself.\u201cWomen are machines for suffering,\u201d Picasso told Fran\u00e7oise Gilot, his mistress after Maar. After they embarked on their affair when he was sixty-one and she was twenty-one, he warned Gilot of his feelings once more: \u201cFor me there are only two kinds of women: goddesses and doormats.\u201d Marina saw her grandfather\u2019s treatment of women as an even darker phenomenon, a vital part of his creative process: \u201cHe submitted them to his animal sexuality, tamed them, bewitched them, ingested them, and crushed them onto his canvas. After he had spent many nights extracting their essence, once they were bled dry, he would dispose of them.\u201d<\/p>\n

<\/a>

Maya \u00e0 la poup\u00e9e dans les cheveux, 1943. \u00a9 Succession Picasso 2017<\/p><\/div>\n

It is curious then that a new exhibition at the Gagosian Gallery in Paris, just off the Champs-Elys\u00e9es on the nightclub-laden rue Ponthieu, called \u201cPicasso and Maya: Father and Daughter,\u201d is full of heartfelt wood sculptures and paper cutouts Picasso made for his daughter Maya, loving and colorful portraits of his shy mistress Marie-Th\u00e9r\u00e8se Walter, and a wall full of rarely seen family photographs: Picasso with his children at the beach, at Christmastime, at a bullfight; Picasso and Maya sitting together, looking at a camera; Picasso and Maya with their dog, Riki, on a Parisian balcony. A flip-book turned into a video has Walter posing and smiling for him. A pencil drawing of a childish Maya has her cheeks red with crayon, as if blushing.<\/p>\n

Diana Widmaier-Picasso, who is the daughter of Maya Widmaier-Picasso and Pierre Widmaier, a shipping magnate, and the granddaughter of Picasso and Marie-Th\u00e9r\u00e8se, curated the exhibition. She is well aware of the usual misanthropic, misogynistic characterizations of Picasso. \u201cHe\u2019s a man of metamorphoses,\u201d she tells me carefully in Paris, a few days before the vernissage of her exhibition. \u201cA complex person to grasp.\u201d<\/p>\n

<\/a>

Diana Widmaier-Picasso \u00a9 Gilles Bensimon<\/p><\/div>\n

Maya Widmaier-Picasso, on whom the show centers, was born in a suburb of Paris on September 5, 1935, just before a time of great social and personal upheaval. The Spanish Civil War was only months away, World War II was looming, and, although Picasso initially proved to be a present father\u2014doing his share of the cooking and housekeeping\u2014he was introduced to Maar at a movie premiere by the poet Paul \u00c9luard\u00a0(thus beginning their affair) only two months after Maya\u2019s birth. But, for a brief honeyed moment, Picasso chronicled his family life with Maya and Marie-Th\u00e9r\u00e8se in portraits and drawings. Out of his four children, Picasso most frequently depicted Maya\u2014no less a muse than her mother\u2014continuing to portray her consistently for nine years, from her birth until 1944, and off and on for years after that.<\/p>\n

\u201cMaya symbolizes hope in a world that is kind of collapsing,\u201d Diana Widmaier-Picasso says. \u201cShe is also a reflection not only of his beloved muse Marie-Th\u00e9r\u00e8se\u2014my mother\u2014but also of himself. So you see in the portraits that he\u2019s projecting himself and Marie-Th\u00e9r\u00e8se onto Maya. I find it fascinating to see the exploration of the mirror of yourself within a daughter.\u201d<\/p>\n

When the French president, Emmanuel Macron, recently stopped by the gallery to look at the works with Maya, who is now eighty-two, he asked her how it felt to be portrayed so frequently by her father. She merely shrugged. \u201cShe thought it hardly felt like her at all,\u201d Diana explains.<\/p>\n

\u201cSometimes, you see that he\u2019s clearly doing a self-portrait through the features of his daughter,\u201d she says. \u201cIt\u2019s not a portrait of a child, you know? She\u2019s meant to be three years old, and there is something very severe about the way she looks … Certainly, he found a feminine projection of himself within his daughter.\u201d<\/p>\n

The works on display also mark a stylistic shift for the artist. His series of portraits of three-year-old Maya in 1938 show a rare gentle but physical energy\u2014Maya playing with a toy boat, Maya holding a doll against her cheek in a way that recalls the Virgin and Child<\/em>.<\/p>\n

There are some who see Picasso\u2019s treatment of women in a relatively positive light: the women in his life enriched his art and, in turn, he depicted them in loving portraiture and artistic allegory. The classic example given for Picasso\u2019s respectful relationship with women is his friendship with Gertrude Stein, which Stein fondly recounted in The Autobiography of Alice B. Toklas.<\/em><\/p>\n

But Picasso\u2019s relationship with Stein and his gentle portraits of Marie-Th\u00e9r\u00e8se and Maya don\u2019t change the fact that Picasso cheated on nearly all of his lovers and, at least indirectly, drove two of them to suicide. Perhaps the nuance is to be found in the types<\/em> of love he doled out\u2014that is, between the type of love that he showed Stein and certain friends and the type of love he showed his wives and lovers like Jacqueline Roque and Marie-Th\u00e9r\u00e8se.<\/p>\n

<\/a>

Maya \u00e0 la poup\u00e9e et au cheval, 1938 \u00a9 Succession Picasso 2017<\/p><\/div>\n

Marie-Th\u00e9r\u00e8se was ready to be \u201ccrushed\u201d into his art, as Marina Picasso says. \u201cShe had no social aspirations whatsoever,\u201d says<\/a> the art historian John Richardson. \u201cHer entire life was devoted to being the artist\u2019s great love and muse.\u201d Maya, too young to have any agency of her own, was also easily ground up into her father\u2019s art: her youthful girlishness provided a new avenue for Picasso to explore his femininity. But Maya is special because although she too was crushed into his art, she was too young to be entirely hurt by it. Picasso\u2019s depictions of Maya are a testament to his genuine happiness at her birth but they are also, psychologically, some of his clearest self-portraits.<\/p>\n

\"\"<\/a>

Portrait de Maya de profil<\/em>, 1943. \u00a9 Succession Picasso 2017<\/p><\/div>\n

The evening of the exhibition\u2019s vernissage is warm and a line snakes through the gallery\u2019s vestibule and out onto the street. Inside, Widmaier-Picasso balances on Louboutins while adjusting the pink bow on the front of her cherry-red dress. After an hour or so of glad-handing, Widmaier-Picasso is tired. She sits down on a circular cushion in the middle of the gallery\u2019s second floor. On one wall next to her are dozens of photos of her mother, her grandmother, and Picasso, living what appears to be a fashionable but relatively normal life\u2014restaurants, holidays, work. Earlier, Widmaier-Picasso had told me that her favorite artwork in the exhibition was Maya, dans ses cheveux une poup\u00e9e en tissue<\/em>, a drawing of Maya in which Picasso placed a cloth doll in her hair, adding a rare physical dimension to the artwork. Now, Widmaier-Picasso turns from the photographs to stare at it on the opposite wall.<\/p>\n

Picasso was a womanizer who left most of his lovers in emotional shambles. He was not, by most stretches of the imagination, a moral or \u201cgood\u201d person. And yet, two generations on, his granddaughter, who now specializes in his art and is even working on a catalogue raisonn\u00e9 of his sculptures, has organized a show feting his relationship with one of his daughters. What we are willing to look past\u2014Picasso\u2019s indiscretions, cruelties, and emotional bloodletting\u2014is just as telling of the viewer as of the artist.<\/p>\n

Today, Picasso is, seemingly, safely ensconced in the canon. And, as one gets to know his art and his life more intimately, it is a balm to look at works like that of little Maya with a cloth doll in her hair. Maya was not destroyed in Picasso\u2019s artistic process, because the face he depicted of her wasn\u2019t her own face so much as a portal for him to find\u2014for a moment\u2014his innocence, his childishness, and his goodness.<\/p>\n

Because so few other women in his life made it out unscathed, that wall will always be the easiest one to look at, which Widmaier-Picasso does, until, finally, she musters the energy to get up and start chatting and cheek-kissing with strangers once more.<\/p>\n

 <\/p>\n

Cody\u00a0Delistraty\u00a0is a writer and historian based in\u00a0Paris.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Sixteen years ago, Marina Picasso, one of Pablo Picasso\u2019s granddaughters, became the first family member to go public about how much her family had suffered under the artist\u2019s narcissism. \u201cNo one in my family ever managed to escape from the stranglehold of this genius,\u201d she wrote in her memoir, Picasso: My Grandfather. \u201cHe needed blood […]<\/p>\n","protected":false},"author":822,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[31525,31519,31526,31520,31521,3292,31514,31517,31513,31523,31518,31515,4919,270,31524,31516,31522,3056,22945],"class_list":["post-117695","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-diana-widmaier-picasso","tag-dora-maar","tag-emmanuel-macron","tag-francoise-gilot","tag-gargosian-gallery","tag-gertrude-stein","tag-jacqueline-roque","tag-marie-therese-walter","tag-marina-picasso","tag-maya-widmaier-picasso","tag-olga-khokhlova","tag-pablito-picasso","tag-pablo-picasso","tag-paris","tag-paul-eluard","tag-paulo-picasso","tag-riki-picasso","tag-spanish-civil-war","tag-the-autobiography-of-alice-b-toklas"],"acf":[],"yoast_head":"\nHow Picasso Bled the Women in His Life for Art<\/title>\n<meta name=\"description\" content=\"A new Picasso exhibition, curated by his granddaughter, celebrates one of the only women in his life he didn't harm for art: his daughter.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/11\/09\/how-picasso-bled-the-women-in-his-life-for-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Picasso Bled the Women in His Life for Art by Cody Delistraty\" \/>\n<meta property=\"og:description\" content=\"November 9, 2017 \u2013 Sixteen years ago, Marina Picasso, one of Pablo Picasso\u2019s granddaughters, became the first family member to go public about how much her family had\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/11\/09\/how-picasso-bled-the-women-in-his-life-for-art\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-11-09T15:00:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-12T19:27:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"675\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Cody Delistraty\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Cody Delistraty\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/11\/09\/how-picasso-bled-the-women-in-his-life-for-art\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/11\/09\/how-picasso-bled-the-women-in-his-life-for-art\/\"},\"author\":{\"name\":\"Cody Delistraty\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/60b5d20e9a80082a41ae078b8856748e\"},\"headline\":\"How Picasso Bled the Women in His Life for Art\",\"datePublished\":\"2017-11-09T15:00:56+00:00\",\"dateModified\":\"2023-06-12T19:27:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/11\/09\/how-picasso-bled-the-women-in-his-life-for-art\/\"},\"wordCount\":1543,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"keywords\":[\"Diana Widmaier-Picasso\",\"Dora Maar\",\"Emmanuel Macron\",\"Fran\u00e7oise Gilot\",\"Gargosian Gallery\",\"Gertrude Stein\",\"Jacqueline Roque\",\"Marie-Th\u00e9r\u00e8se Walter\",\"Marina Picasso\",\"Maya Widmaier-Picasso\",\"Olga Khokhlova\",\"Pablito Picasso\",\"Pablo Picasso\",\"Paris\",\"Paul \u00c9luard\",\"Paulo Picasso\",\"Riki Picasso\",\"Spanish Civil War\",\"The Autobiography of Alice B. 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