Pablo A Man and Emotion (standard:drama, 24172 words)
Author: Waldo Pepper	Added: Apr 06 2002	Views/Reads: 3532/2971	Story vote: 0.00 (0 votes)
A Biographical novel of Pablo Picasso and the events leading up to his first exhibition of Cubism.

Click here to read the first 75 lines of the story

It was not until late the next afternoon that Mark Spencer had the
opportunity to think of his newly acquired painting and its 
accompanying sketch.  He had returned to 

Page 3 

his cabin very late the previous night and had slept soundly in his own
bed awakening close to noon.  Mark spent the remainder of the morning 
unpacking some cloths and perusing French travel brochureflight to 
Paris that he was planning.  He finally remembered his painting and 
went into the adjacent room were he had left the canvas the previous 
evening.  He carefully placed it and the paper tube containing the 
charcoal sketch on his desk then removed it covering of wrapping paper, 
gazing once more at his piece of art work and wondering were it should 
be hung.  He then picked up the paper tube and with the aid of a 
magnifying glass tried to make out the faded French address and gallery 
from which it came that was inscribed on the lower right hand side of 
it covered back.  All that he could make out was that it was located 
Seymour in the Momartre district of Paris.  Mark cleared his desk of 
his painting and wrapping paper and then unfolded a large street map of 
the city Paris.  After a few minutes he was able to locate the street 
and gallery and thought that wile he was in the city he would drop by 
the establishment and see if they could help him. 

Mark reached into his shirt pocket and withdrew aand puffed thoughtfully
as he once more examined the outside of the paper tube.  With a small 
pen knife he carefully cut the seal on the end and withdrew what 
appeared to be a large roll of what appeared to be very old parchment a 
few inches.  He painstakingly pulled it out of its hiding place and 
slowly unrolled the drawing. 

The charcoal and pencil sketch was of a beautiful woman with fair skin,
soft eyes, and long flowing soft hair.  She was approximately twenty 
years of age and wore a large floppy hat and a high necked starched 
blouse. 

This sketch is extremely well done, thought Mark as he pinned the
drawing to his work table.  He carefully examined the parchment with a 
large magnifying glass and found that the watermarks that it contained 
were old enough to date back to the turn of the century.  Mark 
continued to search the parchment inch by inch and on the left bottom 
corner he found an inscription which read "to my dearest friends Petre 
Manyac and Ambrose Vollard September 1901was the stamp of the Vollard 
Gallery the same marking that was on his painting. 

So this sketch does date back to when the original was painted, he
thought  stepping back from his work table.  I wonder is the Vollard 
Gallery is still in existence? 

Page 4 

The young man carefully rolled the drawing and placed it back into its
tube.  He then put it with the luggage that he was planning to take to 
Paris then finished his packing. 

Mark Spencer arrived in Paris two days later and checked into a nice
hotel on the outskirts of Momartre.  He planned to spend a couple of 
days walking the streets of this old district, seeing the sights, and 
gathering information for his article on Pablo Picasso.  Mark also 
thought that he might also spend some time checking the authenticity of 
his drawing. 

"Can you tell me if the Vollard Gallery is still in Momartre," he asked
his desk clerk on the second day of his stay?  "I understand that it 
was one of the largest in Paris." 

"Ah yes, the Vollhe replied.  "Unfortunately Ambrose Vollard passed away
about five years ago and the gallery was torn down.  He is survived by 
his widow and daughter who have since rebuilt it and it is known as the 
Franklin House of Art.  They still are the most reputable art dealers 
in all Europe." 

"Is the Franklin House of Art far from here," he asked? 

"No, it is quite close by," he replied.  "It is at 19 Rue Level about
four blocks from this hotel.  I will just write out the address for 
you.  If you go straight into the Momartre district you cannot miss it. 


"Thank you," said Mark slipping the piece of paper into his shirt
pocket.  "Perhaps I shall pay them a visit later this afternoon." 

After Spencer had finished his lunch in a small sidewalk cafe he set out
to locate the Franklin House Of Art.  He carried this drawing hidden 
away in its paper tube tightly under his arm.  Making his way up the 
Rue Level he found the small gallery nestled between two wooden buildi 
Page 5 

that appeared well kept with large picture windows enhancing the front.
New stone steps led to its entrance and a large brass plaque that read 
"Franklin House Of Art." 

"I would like to have a drawing evaluated," said Mark to the young
caretaker in the main hall of the gallery.  "Do you provide such a 
service?" 

"Why yes, Miss Vollard would be happy to accommodate you sir," he
replied.  "Unfortunately she is with a client  but will be free in a 
few minutes.  If you care to wait I am sure that she will see you." 

Mark nodded his approval and the young man led his to one of the
adjoining offices to wait.  A few minutes later a faint knock was heard 
on the door and a young woman entered wearing a smartly tailored 
business suit. 

"Hello, my name is Lisa Vollard," she said shaking hands with Mark.  "I
understand that you have a drawing that you would like me to evaluate." 


"Yes," he replied reaching for the paper tube.  "I acquired it in a
small gallerinscription to this gallery and also to Ambrose Vollard. It 
also includes the date of 1901." 

"That is interesting," she said moving behind a large desk and taking a
seat.  "Ambrose Vollard was my grandfather and the original owner of 
this gallery.  In around 1901 he was displaying some of the most famous 
work that were ever done in Momartre." 

Mark slowly withdrew the drawing from its paper tube and handed it to
Vollard.  The young gallery owner stood and took a few steps over to a 
work table in the corner of the room and began to unroll it. 

"This is amazing," she said staring at the drawing for a moment.  "I
have been told that some of these sketches still existed but I never 
thought that I would be lucky 

Page 6 

enough to ever see one." 

"What do you mean," he asked?  "Are they some kind of rare drawing?" 

"Yes, you could say that," she replied.  "But the story behind this
sketch is worth far more then its value." 

"You don't say," he said.  search of a good story, perhaps you will
enlighten me with its tale." 

"No, I am not the one that you must speak to," she said as she began to
roll the parchment and return it to its paper tube.  "My grandmother 
will be able to explain everything better then me.  I will just 
telephone her and see if she is free this afternoon." 

Vollard then turned and walked to a small telephone that lay on her desk
and began to dial a number.  She spoke to someone in a dialect of 
French that Mark did not understand and when she had finished the 
conversation she turned to the young man and smiled. 

"She will see you this afternoon," she said handing him the paper tube.
"I will also go along with you for my grandmother lives alone in a 
small apartment that is not far from this gallery.  She she has grown 
quite old but still is one of the most interesting woman that you will 
meet, and as a writer I  think that you will find her quite 
fascinating." 

About ten minutes later Mark and Miup the Rue Level to the young woman's
grandmothers apartment.  They found it snuggled away among other modest 
apartments about three blocks from the gallery. 

"Grandmother Odette, I would like to introduce Mark Spencer," said
Vollard as the three stood in the old woman's apartment.  "Mr. Spencer 
is a writer and has recently arrived from Canada with a drawing that 
you may find interesting." 

Page 7 

"Indeed," said the old woman looking over the young man.  "What makes
you think I would be interested in your drawing young man?" 

"I believe that it is very old," he replied handing her the paper tube.
"It also contains an inscription to Ambrose Vollard and I understand 
that you were married to him for a great many years." 

"Yes, that is true," she said stepping away from the young man and
opening the end of the paper tube as she moved.  She then sat down on a 
small sofa and withdrew the rolled parchment that it contained. 

"My God, wherever did you get this," she saile. "I thought that it would
have been destroyed years ago.  It is as if a darker portion of my life 
has returned to haunt me." 

"Whatever do you mean Madame Odette," said Spencer taking a couple of
steps towards her? 

"She is implying that the model in the drawing is her," replied Vollard
from across the room.  "And when she posed for that sketch she was not 
the refined woman of substance that you see seated before you." 

My granddaughter is right," said Madame Odette looking up at Mark.  "But
I should tell you the whole story from the beginning and let you be the 
judge.  Perhaps even your readers will understand me when you write 
your story and think kindly of the ramblings of an old woman and the 
passion of a young girl." 

"Would you mind if I recorded your story Madame Odette," asked Mark
drawing a small tape recorder out of his jacket pocket.  "It would make 
things easier for me as a writer and I would also have an accurate 
account of your tale." 

"I do not mind in the leato say," she 

Page 8 

replied.  "I do want an proper account of what I am about to tell you.
There has been so much falsely printed about some of these people and 
perhaps now it is time to set the record straight." 

A few minutes later Spencer had his tape recorder set up on a small
coffee table that lay beside the sofa.  Miss Vollard had served each of 
them small glasses of Cream De Mint from the liquor cabinet in the room 
and had returned to her seat next to her grandmother. 

"I really don't know were to begin," said the old woman talking slowly
into the small microphone that was attached to her blouse.  "I suppose 
that it all started on a summer afternoon in the year 1900.  My 
grandfather and I were traveling to Paris on the Express Train.  I 
remember the mournful sound of that train whistle as it broke the 
silence of the hot afternoon.  The engine had slowed to take on fuel 
after leaving Barcelona two days before and wondering through France 
picking up thethat evening. 

Looking out one of the dusty windows of the Club Car sat a young man in
his late teens or early twenties an open portfolio of pencil and 
charcoal sketches resting comfortably in his lap.  Each sketch was 
graded and bore the stamp of the Barcelona School Of Fine Arts.  On the 
last drawing a long narrative had been written by one of the 
professors. 

The young man was Pablo Picasso recently a student of the
above-mentioned Barcelona School Of Fine Arts.  Curled up on the seat 
next to him and fast asleep was Manuel Pallares his life long friend. 
He too was a student of the school of fine arts and  after receiving 
these degrading marks the two young men had pooled their resources and 
with the help of Pablo's father purchased two train tickets to Paris. 

Pablo looked over the sketches once more and shook his head at the
failing marks that each one was rewarded with.  He had worked so hard 
on these drawings and he felt that the low grades werhim.  Drawing the 
final sketch out of the pile he closed the portfolio and began to read 
the comments that the professor had written. 

"Dear Mr. Picasso," he began to read.  "I have studied your charcoal and
pencil 

Page 9 

sketches and find them amateurish and not up to the standards of this
fine school.  Your paintings are also not what we expect from a student 
that has studied here for the length of time that you have.  As you see 
I have graded your work accordingly.  I would also like to add that I 
have conferred with the other professors that have instructed you and 
they all feel that it would be a waste of your time and ours for you to 
continue in your studies here.  Perhaps you should choose something 
that is more suited to you." 

Pablo reread the professor's notation once more, sighed, and placed the
drawing back in his portfolio.  He then gazed out the window of the new 
moving train.  Perhaps continuing his studies in Paris would be better 
then Barcelona he thought.  The French progress in unique styles of 
painting.  He had read that the Momartre district of Paris was the 
center of this revolution and were better to find a studio, begin 
painting, and perhaps start a new life. 

Pallares shifted in his seat next to Pablo and opened his eyes.  He was
also a young man a year or two older then Pablo with an agreeable smile 
and a passion for life.  Running his fingers through his thick dark 
hair he stretched almost getting to his feet. 

"Are we there yet Pablo," he said rubbing his eyes.  "I feel that I have
spent my entire life on this cursed train." 

"No, not yet my friend," he replied.  "The conductor told me that we
should arrive around seven o clock tonight provided that we do not stop 
for any more passengers and there are no other delays." 

"Seven o clock sounds like an eternity," said the young man.  "I suppose
that we could kill some time at the bar in the dinning car.  Do you 
feel like a nice glass of wine or perhaps some Anisette?" 

"Yes, that wo some of the comments that I received for my paintings and
sketches at the art institute and have become quite depressed.  A nice 
glass of Anisette would pick up my spirits considerably." 

Page 10 

"I wouldn't worry about those grades Pablo," said Pallares getting to
his feet.  "My grades and comments were worse then yours and you don't 
see me getting discouraged.  The professors in Barcelona have no idea 
what art is." 

"Perhaps you are right my friend," he replied getting to his feet and
following his comrade to the adjoining compartment.  "Possibly Paris 
will be a fresh start for both of us." 

The two men found empty seats at the bar and Pallares ordered a large
glass of Anisette for Pablo and a small carafe of wine for himself. 
Being the middle of a hot and sultry afternoon the dinning car was not 
exceptionally busy and it gave Pablo an opportunity to look over the 
few patrons that sat around him.  The bar tender returned with the 
drinks and Pallaresand lifted his glass. 

"I would like to propose a toast to a new beginning," he said.  "May the
names of Pablo Picasso and Manuel Pallares forever shine in the hearts 
and on the lips of the art critics and people of Paris." 

"I will drink to that," replied Pablo lifting his glass.  "I only hope
that the art critics and people of France are a little more broad 
minded and open to new ideas then the Spanish." 

As the two men drained their glasses the dinning car shuttered for a few
seconds as the train made its way over some loose cross tracks.  The 
hot afternoon sun had also made the small car stuffy and Pallares 
stretched lazily on his bar stool. 

"This cheap French wine has suddenly made me sleepy," he said putting
down his empty glass.  "Perhaps I will lay down for an hour or so.  I 
am sure that you will be able to amuse yourself in my absence." 

"I shall try," said Pablo.  "Possibly I will return to the club car and
do some sketching.  The scenery iand perhaps I will be able to 

Page 11 

capture some of it." 

The two men parted company agreeing to meet in two hours for a light
supper.  Pablo ordered another glass of Anisette and continued to sit 
at the bar thinking of what Paris might have in store for him. 
Finishing his drink he got to his feet and made his way to the club 
car. 

The young man peered into the compartment for a moment looking over the
passengers.  It was partially filled with people mostly businessmen and 
factory workers returning to Paris for another week of toil.  The 
afternoon heat has caused the compartment to reek of perspiration and 
stale cigarette smoke.  Choosing a seat near the rear of the car he 
made his way towards it and settled himself into one of the soft 
leather seats.  He then pulled the latch of the window that was to the 
left of him and pushing it open he breathed the fresh air that engulfed 
him. 

For the next few minutes Pablo gazed out the window of the train at the
French couto fine a new beginning he thought.  He closed his eyes and 
let his thoughts wonder back over the past two years as he had 
struggled as a young artist.  He remembered how his father had 
encouraged him, teaching the young man everything that he knew as a 
simple art teacher. He also recalled how he and his friend Manuel 
Pallares enrolled at the Barcelona School of Fine Arts only to be 
ridiculed by the professors and made to feel iincompetent.  Yes, 
perhaps this was a new beginning for the young man, an opportunity to 
venture into a new world were there would be no boundaries. 

Suddenly the train lurched interrupting Pablo's thoughts and the young
man opened his eyes and looked around the club car.  As he did so he 
noticed an attractive young woman making her way down the isle towards 
him.  She had shoulder length dark hair, a charming face, and her age 
he determined to be between eighteen and twenty.  The young woman wore 
a peasant skirt and thin blousAs she walked she clasped two large 
parcels in her hands and then suddenly and with no warning the train 
swayed once more forcing her to lose her balance and almost fall into 
Pablo's lap. 

"I am terribly sorry sir," she stammered getting quickly to her feet.
"These 

Page 12 

French trains can be quite unsteady." 

"That is quite all right my dear," he replied smiling.  "Perhaps you
should take a seat and regain your composure." 

"Why thank you sir," she said pushing her packages onto the adjoining
bench.  "I am afraid that this unsteady train and the sudden hot spell 
that we are experiencing has given me a turn." 

The young woman seated herself and moped a little perspiration from her
forehead with a handkerchief that she withdrew from her sleeve.  When 
she had completed this task she looked quite refreshed and composed and 
a slow smile slowly spread over her face. 

"Do you travel much by French commuter train," he asked turning to face
the young woman? 

"My name is Odette Le Clair and this is only my second visit to Paris. 
My grandfather and I live in a small village on the outskirts of 
Normandy and he has some financial matters to attend to in Paris.  
Grandfather has been quite frail for the past few years and this is why 
I am accompanying him.  Our village is also very poor and my family is 
in need of money so I plan to stay on in Paris and perhaps model for 
some of the young artists in Momartre." 

"Well, this is an unexpected coincidence," he said.  "I am Pablo Picasso
one of the young artists that you are planning to model for.  Paris and 
Momartre is also my destination." 

"What a surprise indeed," she said.  "Do you think that you may require
a model some time in the future?" 

Page 13 

"Yes, a model is one of the first things that I will need," he replied.
"I will have to find a small studio were I can live and paint but I 
have heard that they are plentiful in Momartre.  Perhawrite to you in a 
week or so after I have become settled and inform you when I will need 
you to work for me." 

"That would be wonderful," she said.  "I plan to take out an
advertisement in the Le Clover when I reach Paris.  It is an 
underground newspaper that all the writers and artist read.  You can 
contact me through it." 

"I shall look forward in seeing your advertisement," he said.
"Unfortunately I must leave you now and wake my lazy friend Manuel 
Pallares.  He is also a young artist and we have traveled together from 
Barcelona and we will be sharing a studio." 

"Yes, I suppose I should see to my grandfather," she said getting to her
feet.  "Perhaps I will see you again before we reach Paris." 

With that the young woman picked up her parcels and made her way down
the isle of the club car leaving Pablo sitting in the warm afternoon 
sunshine.  He watched her as she left the compartment and wondered if 
he would ever see her again. 

When the young man arrived at his sleeping compartment and washing his
face in a basin of water.  He seemed rested after his short nap and 
hummed a little Spanish song as he splashed water on his face. 

"Pablo, have you given any thought to were we are going to stay in
Paris," he asked drying himself with a large towel? 

"Yes, I have been told by some friends in Barcelona that the Hotel
Hippodrome is quite nice," he replied.  "It is located somewhere in 
Momartre and we could stay there for a couple of days wile we look for 
a studio." 

"The Hotel Hippodrome it is then," he said putting down his towel and
combing is hair.  "I only hope that the rats are not too big." 

Page 14 

Manuel finished combing his hair and then the two men made their way to
the dining car for a little light supper.  They were seated by a waiter 
and then given menus to what was being featured that evening. 

"I think that I will just have a little bread and cheese," said Pablo
putting down his menu.  "The heat of this afternoon has not made me 
hungry." 

"Yes, that sod be in Paris quite soon." 

"I would imagine so," replied Pablo waving his hand to get the waiter's
attention.  "This express train is suppose to keep a strict schedule." 

Pablo's prediction proved to be right for at eight o' clock that evening
the express train slowed its speed as it approached the Paris rail 
yard.  It moved slowly across cross tracks and around obstacles and 
finally came to a halt alongside a long wooden platform.  The structure 
was crowded with baggage handlers and an array of people waiting for 
the incoming train. 

"Pablo, I have never seen a station as big as this," said Manuel looking
out one of the dusty windows.  "And come and see all the people that 
are waiting to greet us." 

"Yes, this is no whistle stop of a station my friend," he replied.  also
peering out the dirty window.  "There must be fifty to a hundred people 
out there." 

The two men joined the crowd of disembarking passengers and retrieved
their meager possessionsearched through the crowd for a glimpse of 
Odette but could not see her.  As the mass of people began to thin the 
two young men began to make their way out of the station and up the 
steep hill of Momartre. 

"Pablo, do you have any idea were the Hotel Hippodrome is," asked Manuel
stopping on a street corner? 

Page 15 

"Not the foggiest," he replied.  "But perhaps we could have a glass of
wine in that wine shop across the street and ask directions." 

The wine shop to which the young man referred was an old woman building.
As then entered the young man noticed a few patrons sitting on small 
tables drinking aperitifs. 

"So you want the Hotel Hippodrome do you," said the fat proprietor eying
the two young men suspiciously over his crumpled newspaper.  "I would 
rather sleep in the street then go to that rat hole.  But if you are so 
inclined you are headed in the right direction.  When you leave my shop 
continue up the hill and that will take you into the heart oMomartre.  
Once there you can't miss it just follow your nose." 

The proprietor then picked up his crumpled newspaper and continued
reading as if he were alone. 

"Now there is s friendly fellow," said Manuel sipping his wine.
"Probably has a general dislike for all writers and painters and 
everyone at the Hotel Hippodrome." 

"Ah perhaps they have cheated him on something in the past," said Pablo.
"That would make him bitter." 

The two men finished their wine and slipped quietly out of the wine shop
to once more make their way into Momartre.  The night was warm and the 
sky clear and soon a few stars began to appear as the two men 
journeyed. 

"So tell Pablo how did you make out with your sketching this afternoon,"
asked Manuel? 

"Actually I met this woman in the club car just as I was beginning to
draw and didn't accomplish a thing," he replied.  "She is a young girl 
from Normandy who is going to Paris to become a model.  I was thinking 
I may be able to use her in my next project." 

Page 16 

 "Yes, in a natural sort of way I suppose that she is," he replied.  "I
do do not know if she has ever had any experience modeling for a 
painter but I shall train her in short order." 

As the evening passed the two young men made their way further into the
heart of the Momartre district of Paris.  They found the Hotel 
Hippidome to be a middle class rooming house that was located at 9 ru 
Componne Primer.  It was a three story brick and wooden structure that 
seemed to loom out of the night at the young men.  One minute was there 
was nothing then suddenly like some giant reptile that had lumbered out 
of the primal swamp there it was standing in their path. 

"I doesn't look too impressive," said Manuel looking at the dirty stone
archway the surrounded the entrance.  "And what is that smell, is it 
the river or a dead horse." 

"A little bit of both I would say," said Pablo making his way up the
pathway to stand next to his friend.  "The wind has changed and is now 
blowing at the end of the street and I am certain the smell is coming 
from there." 

"What a charming neibourhood," said Manuel shaking his head. 

"Yes, I agree with you my friend this is not an ideal location," he
said.  "The Hippodrome is not a palace but it will do for a couple of 
days until we can locate a studio." 

The two men entered the hotel lobby and found it deserted.  The lone
occupant was an elderly desk clerk that sat in the corner reading a 
greasy newspaper. 

"You fellows looking for a room," he said looking over a pair of wire
framed glasses.  "Got a couple of nice ones for only three francs a 
week." 

Page 17 

"Yes we are but we plan to stay only for a day or two," replied Pablo.
"Are your rooms clean?" 

"You won't find no better then these in all Momartre," he replied.  "And
at this time of the night a fellow can't be too choosy." 

"No, I suppose he can't," said Pablo.  "Very well we will take it." 

The two men signed the a flight of wooden stairs to a landing.  They
then turned right and went down a long hallway to a series of rooms.  
The chamber that they were shown was plain  and relatively clean.  It 
contained two iron beds, a chest of drawers, and a small writing table 
and chair.  Pablo paid  the desk clerk two francs and was given a key. 

As Pablo began to unpack his cloths and lay them out on the bed he began
to think of Odette and were she might be.  He also wondered if she 
would actually put an advertisement in that underground newspaper that 
she told him about or was she merely making polite conversation. 

"You look as though you are in deep thought Pablo," said Manuel closing
his now empty suitcase.  "Is something troubling you my friend?" 

"No, not really," he replied.  "I have just been thinking of Odette and
wondering if I will ever see her again." 

"Ah yes, the little girl from Normandy that is going to Paris to become
a model," said Manuel.  "If it is your dll cross you will see her.  It 
is all that is in the cards for you my friend." 

"Yes, I suppose that you are right Manuel," said Pablo closing the chest
of drawers.  "I shall look for her advertisement in the Le Clover when 
we get settled into 

Page 18 

a studio." 

The next morning the sun was just beginning to brighten the eastern sky
when Manuel slipped out of the Hotel Hippodrome and made his way long 
the deserted streets of Momartre.  He purchased two loves of bread and 
a quart of milk from a sleepy shopkeeper and then made his way to a 
newsstand.  He selected four Paris newspapers and a copy of the 
underground Le Clover.  He then made his way back to the hotel were he 
found Pablo partially dressed and standing before a wash basin shaving. 
He put his parcels down and poured himself a cup of coffee that his 
friend had brewed. 

"Yes, just a little bread and a little milk for our coffee," he replied.
"I thought that you might be hungry." 

"As a matter of fact I am famishe with a towel.  "That fresh bread that
you have bought smells wonderful. I think that I shall enjoy living in 
Paris." 

"Yes, the bread of France is renowned throughout the world said Manuel.
"Now wile you cut it up and pour out some more of that wonderful coffee 
that you have made I will see what Momartre has to offer a couple of 
struggling artists in a way of a studio in these papers." 

As Pablo sliced up the bread Manuel opened one of the newspaper and
began to look through it  circling any prospect for a studio with a 
thick artists pencil.  A few minutes later the young man joined his 
friend and for the next half hour the only sound that was heard the the 
occasional rustle of paper.  Finally Pablo folded his publication, put 
it down, and took another sip of his now cold coffee. 

"I don't think that we will ever find a studio," he said looking across
the room.  "They all cost so much money." 

"Yes well I know of one that is not far from here," said Manuel.  "I
sawAccording to this newspaper the 

Page 19 

previous tenant is returning to the south of France.  The address is
number 13 Rue Revegen and it is listed for only two francs a month." 

"Now that sounds interesting," he said.  "Make a note of the address and
we will take a look at it later this morning.  I have never heard of a 
studio being listed so cheap." 

It was mid afternoon and the sun was high in the Paris sky when the two
young men made their way the few short blocks to number 13 ru Revigan. 
They found the studio located in a row of delapitated buildings on a 
dirty unkept street. 

"This building looks as ancient as the Hotel Hippodrome," said Manuel
looking up at the two story wooden structure.  "This cannot be the 
right address." 

"I am afraid that it is my friend," said Pablo once more looking at the
address that he had scribbled on a scrap of paper.  "As long as we are 
here we might as well have a look at it." 

A few minutes laterand dirty rug just inside the entrance.  He was a
tall man with a bad complexion, stooped shoulders, and walked with a 
limp.  When Pablo addressed him he looked back at him through bloodshot 
eyes and smiled a little. 

"Yes, I can show you a nice studio for two francs a month," he said
leaning on his broom.  "My rooms might not be the cleanest but they are 
the cheapest in all Momartre." 

"This building is nothing but a decapitated fire trap Pablo," said
Manuel looking at the peeling unpainted walls.  "It should be condemned 
by the health department." 

"Yes, you might think so," replied the landlord looking a little
flustered.  "But this building has a rich history.  It has sheltered a 
long succession of artists and writers including Renoir the painter, 
Maxine Mufa, and the theater producer Paul Forte." 

Page 20 

"Interesting," said Pablo.  "Manuel, perhaps you were being a little too
rash in your judgment of this establishment.  We may be able to make on 
"I am certain that you shall," replied the landlord.  "Let me show you 
the one that I had in mind." 

The landlord led the two young men down a long hallway to a fairly large
studio.  It contained a double picture window and an adjoining bedroom. 
The general appearance of the studio was dirty but with a little work 
it could be quite comfortable. 

"I think that we shall be able to fix this up quite nicely Manuel," said
Pablo looking over the unpainted walls.  "It will require a lot of work 
but to be able to paint in a studio were Renoir and Maufra have worked 
will be an honor." 

Pablo gave the landlord two francs in exchange for a worn latch key and
the two young men began to take a closer look at their new home.  The 
studio needed a lot of work for dirt and cobwebs were everywhere and 
the walls needed a good coat of paint.  When you entered the rooming 
house you had to walk down a long sloping hallway that illuminated with 
one faint gas lamp and whose floor creakIts construction was based on 
the principle that privacy was for the very rich and a poor struggling 
artist or writer was not allowed that luxury. 

In two days the young men had their studio quite clean and Pablo had
applied a fresh coat of paint to the walls.  He then began to stock it 
with numerous rolls of canvas and jars of paint.  Rolls of parchment 
and sheets of drawing paper began to lay in every corner and so did 
boxes of drawing pencils and charcoal. 

"Pablo, the studio is finally coming together," said Manuel as he
unloaded yet another handcart of supplies.  "We should be able to begin 
painting soon." 

"Yes it is," he replied putting the finishing touches on the large
picture window that he was cleaning.  "But first I would like to meet 
some of the writers and artists of Momartre and see what they have been 
recently up to." 

Page 21 

"I have heard that there is a small coffee house and bar called the Cafe
Lapin Au Agile that is full of people like that," said Manuesitting in 
a chair.  "They claim that you can get a good bowl of soup if you are 
hungry and the people there are friendly." 

"Ah, now now that sounds appealing my friend," he said putting down his
rag.  "We have been working all day and I am growing hungry so perhaps 
you could find out the address of this establishment and we will pay 
them a visit." 

"I will see what I can do Pablo," said the young man getting to his
feet.  "I was able to meet one of our neibours this morning and perhaps 
he will be able to tell me something of this coffeehouse." 

"Ah, one of our niebours," said Pablo walking across the room." "And
what is he like?" 

"I think that you will like him," he replied.  "His name is Max Jacobs
and he is an artist and poet." 

"He sounds like an intriguing fellow," said Pablo.  "Perhaps I will go
with you and you can introduce me to him." 

The two young men found Max Jacobs just leaving his studio and about to
make his way down the long hallway of the rooming house.  The young 
poet was a dressed elegantly in a expensive long coat and top hat. 

"Oh Mr. Jacobs," called Manuel as he and Pablo moved towards the young
man.  "Could you spare a moment?" 

"Why certainly my good man," he replied turning.  "What can I do for
you?" 

"I would like to introduce my friend Pablo Picasso," said Manuel.  "He
is also an 

Page 22 

artist and we share a studio in this rooming house." 

"Well this certainly is a pleasure sir," he replied shaking hands with
the young man.  "So, you have come to paint in the laundry boat." 

"The laundry boat," said Pablo smiling.  "That is an unusual description
for this building." 

"Yes, well I think that it kind of resembles the house boat in the Seine
were the poor women of Paris do their washing," he replied.  "I think 
that the French call it Bateau Lavoir.  Do you think that is a good 
illustration of this place?" 

"Yes, that is an excellent description Mr. Jacobs," said Pablo.  "We
were wondering if you kntells me that many writers and artists frequent 
it." 

"So, you have heard of the Cafe Au Lapin Agile have you," he replied. "I
must tell you that it is one of the finest night spots in Paris.  It is 
said that it is the everyday haunt of some of the most famous writers, 
artists, and gallery owners of Momartre and even Europe.  As a matter 
of fact I am planning to dine there later this evening so why don't you 
drop by for a drink.  I may be able to introduce you to some people 
that you will find interesting." 

"That would be wonderful," said Pablo.  "We will look for you about
eight o' clock." 

Pablo shook hands with Jacobs once more and then the young poet
apologized and told him that he had to leave for he was late for an 
important meeting.  He assured both men that he would see them later 
and left them standing in the hallway. 

"Well Pablo what do you think of him," said Pablo as the two young men
stepped into the late afternoon sunshine? 

Page 23 

"I think to know his way around Momartre and its people. This evening
could prove to be exciting." 

It was around seven thirty that evening that the two young men made
their way across the streets of Momartre on search of the Cafe Au Lapin 
Agile.  the found the ru de Saveles quite easily and then worked their 
way down to number 22.  The cafe was a newly painted wood and brick 
structure with large picture windows on the first and second floor and 
a high sloping roof.  A number of people milled around its entrance 
waiting for tables and the general atmosphere of the establishment was 
cheerful. 

"I think that this is it Pablo," said Manuel once more looking at the
address that he had written on a piece of paper.  "The cafe looks quite 
nice." 

"Yes it does," he replied.  "And from the amount of people that are
waiting for tables they appear to do a good business." 

The two men made their way past the cafe patrons waiting at the entrance
and came in the cafe. As Paastonished at the elegance of the decor.  
Expensive crystal chandlers hung from the ceiling and a fine oaken bar 
with tenders dressed in white shirts and vests mixed drinks.  To the 
right of the watering hole lay a small stage were a local singer could 
entertain the throng of people.   Men and women sat at small tables 
enjoying their dinner that was served on fresh linen and in real bone 
china. 

"This is quite a place Pablo," said Manuel.  "I have never seen so many
waiters and bus boys." 

"Yes, Barcelona has nothing like this my friend," he replied.  "See is
you can spot Jacobs in this crowd." 

"I don't see his Pablo," said Manuel.  "It is impossible to see anyone
in this throng." 

Page 24 

The two men made their way to the bar were Pablo ordered a small carafe
of wine.  The bartender returned a few minutes later with the young 
man's order and sat it down in front of him with two empty glasses. 
Manuel filled the glasses from the carafe and took a small cautiosip 
from his. 

"This house wine is excellent Pablo," he said taking a larger drink.  "I
can see why this cafe is so popular." 

"Yes, the wine is first class," he replied sampling his glass. "If the
rest of the cafe's food is as good we could be spending a lot of time 
here." 

As Pablo sat enjoying his wine he spotted the long coat and top hat of
Max Jacobs making its way toward him.  The young poet was engaged in a 
conversation with another young man that walked beside him.  He was a 
stocky, moushtashed, good looking fellow in his early thirties.  His 
dark curly hair was neatly trimmed and the expensive suit that he wore 
showed that he appeared to have money. 

"Ah Pablo and Manuel," he said as he approached the bar.  "I was afraid
that I would not be able to find you in all these people.  I would like 
you to meet Petre Manyac.  He is an art dealer that has a small gallery 
here in Momartre.  I have told him that you two are artists and may 
want to have your work displayed." 

"You are too kind Mr. Jh Manyac.  "We have only come here tonight to
learn what the artists and writers of Momartre have been recently been 
up to." 

"Well in that case perhaps you and your friend would care to visit my
studio Mr. Picasso," said the art dealer finding an empty stool next to 
the young man.  "I have a good selection of new work on display.  I 
think it will give you an idea of what the artists in Momartre are 
doing." 

"That would be very kind of you Mr. Manyac," he said.  "Possibly we
could drop by tomorrow afternoon." 

Page 25 

Pablo ordered another large carafe of wine and the four men began to
drink and talk of painting and life in Momartre.  As the evening 
progressed the patrons in the cafe began to thin somewhat and a few 
tables became available.  the four men then moved to one of these and a 
waiter brought them a menu. 

"If you are hungry I would suggest the onion soup Mr. Picasso," said
Manyac looking over his menu. "It is one of the things that this 
restaurant "A bowl of onion soup does sound good," he said.  "I am 
feeling a little hungry after all that wine that I have been drinking." 


"I think that bowls of onion soup will be good for all of us," said
Jacobs putting down his menu and waving his hand to get the waiter's 
attention.  "The Cafe Au Lapin Agile prepares their soup in a special 
way that you will not find anywhere in Paris." 

The waiter returned and four large bowls of onion soup were ordered.
Jacobs also purchased another large carafe of wine for everyone and a 
glass of absinthe for himself.  When the waiter returned a few minutes 
later he carried a large serving tray upon which lay the four steaming 
bowls of soup, the wine, and the glass of absinthe.  He placed the soup 
on the table along with a basket containing large chunks of warm bread 
and two large chunks of  butter. 

"What a wonderful meal," said Pablo pushing away his now empty soup
bowl.  "I do not know when I have enjoyed a bowl of soup more." 

"Yes, I agree with you Lapin Agile is truly a superb restaurant." 

"I am glad that everything was to your taste," said Manyac draining his
glass of wine.  "I am afraid that I must leave you now.  I have some 
art dealers from Rome that are touring my gallery early tomorrow 
morning and I have to be bright eyed to accommodate them.  I shall look 
for you and Manuel in the afternoon.  I think that your visit will be 
quite rewarding." 

Page 26 

With that Manyac scribbled the gallery address on a scrap of paper and
handed it to Pablo.  He then got to his feet and once more shook hands 
with the two young men reminding them once more he would look for them 
in the afternoon.  After saying this he turned and left he cafe. 

"Manyac seems like a nice fellow," said Pablo sipping his wine.  "Has he
been in Momartre long?" 

"He has been here for about a year," replied Jacobs.  "Manyac was
originally a factory owner in Barcelona.  He arrived in Paris and 
teamed up with Ambrose Vollard.  The two menVollard Gallery.  The 
enterprise has been quite successful." 

"Have many painters from Momartre had their works exited in the Vollard
Gallery," asked Manuel? 

"Yes they have," he replied.  "Beside exhibiting works of new artists he
is also the sole dealer of the paintings of Gaugane and Cezanne.  It 
has been said that the pulse of the art world is felt at the Vollard 
Gallery." 

"Interesting," said Pablo.  "But tell me Mr. Jacobs what type of man is
Ambrose Vollard?" 

"I honestly have to say that he is a large gruff boorish fellow," he
replied.  "I have also heard his described as looking like a  giant 
ape.  But nevertheless he has the rare ability to inspire a young 
artist to do great work.  I have also found him to be a rather shrewd 
businessman buying works of art cheap and then selling them to 
adventurous collectors for a high price.  You will have the opportunity 
to meet him tomorrow and then you can form your own opinion." 

"Yes, I am looking forward to a tour of the Vollard Gd Pablo.  "Ambrose
Vollard sounds like an interesting man and I hope that I have the 
stroke of luck in meeting him.  Unfortunately it is growing late and 
the cafe is closing so I think that we should be going. Perhaps you 
would care to walk back to the Bateau Louver 

Page 27 

with us." 

"Why yes, that is an excellent suggestion," he said getting to his feet.
"Perhaps I can tell you a little more of what you shall see when you 
visit the gallery tomorrow." 

As the tree men walked slowly back to their studio Jacobs continued to
talk of the artists of Momartre.  He spoke of Gaugane, Van Gogh, 
Cezanne, Renoir, and George Braque.  They are all doing new and 
exciting work here he continued and you shall see examples of this in 
the Vollard Gallery.  Pablo felt a newborn spirit of excitement 
rekindled upon hearing this and he hoped that he too might contribute 
something to this French art movement. 

"Thank you for an enjoyable evening Mr. Jacobs," he said shaking hands
with the young poet.  "You please do not be a stranger." 

"Thank you also Mr. Picasso," he replied.  "I shall visit occasionally
and if there is anything else that I can do for you do not hesitate to 
ask." 

The next afternoon the two young men made their way along rue Lafayette
to number 27 the address of the Vollard Gallery.  Pablo had been 
impressed with Pere Manyac the previous evening and when he arrived at 
his gallery he was overwhelmed.  The building was a large newly painted 
wood and stone structure with a neatly kept entrance way and large 
picture windows.  These street side portals gave the passerby a glimpse 
of the treasures that it held.  Over the doorway was a large plaque 
which read "Vollard Gallery est. 1890". 

"This certainly is quite a structure," said Pablo looking away from the
plaque.  "Jacobs was absolutely right about Manyac and Vollard having a 
thriving business." 

"Yes you are right Pablo," said Manuel.  "This is the place were we
shall display our art work." 

The twtheir 

Page 28 

surroundings.  Pablo felt emotional as he gazed around the bright and
airy gallery.  Directly on a little raised dais and catwalk lay wood 
and glass cases containing various pieces of sculpture done in marble 
and ivory.  Beyond them the walls of the gallery were laden with 
various paintings all neatly framed and hanging in the warm afternoon 
sunshine. 

"I have never seen so much art work Pablo," said Manuel as he peered
around the salon.  "And I once visited the National Gallery in Madrid." 


"Yes, this Vollard Gallery is truly impressive," he said taking a few
steps down and peering into one of the glass cases.  "I too have never 
seen so much art work gather together in one place." 

"Ah Mr. Picasso, I am so glad that you and your friend Mr. Pallares have
finally arrived," came the voice of Pere Manyac from across the room. 
"Now I have some business to attend to for a few moments so make 
yourself at home and I shall be with "That is no problem," he replied 
looking up.  "Your wonderful gallery has enough to keep us occupied for 
hours." 

As Manyac turned and disappeared into his office the two young men
continued to view the vast array of sculptures in stone and wood 
carvings that the display cases held.  The young man wondered if he 
would be able to match that skill with work of his own.  A few minutes 
later the gallery owner's office opened and Manyac emerged accompanied 
by a surly looking man of about his own age.  His accomplice did indeed 
look like a large ape as he lumbered behind the gallery owner.  The 
young man's massive frame was clothed in a fine suit and his thick dark 
hair had been neatly trimmed into a fashionable style of the day.  The 
two men moved quickly to were Pablo and Manuel stood. 

"Mr. Picasso, Mr. Pallares, he said coming to a halt.  "I would like to
introduce Ambrose Vollard my partner.  He opened this gallery almost 
five years ago and now it is one of the finest showcases in the 
artworld of Paris." 

Page 29 

"Ah Mr. Vollard this is a pleasure," said Pablo shaking the gallery
owner's hand.  "What a wonderful gallery you have.  Manuel and I could 
spend hours looking at your fascinating exhibits. " 

"Why thank you Mr. Picasso," he replied.  "We are currently trying to
focus our attention on some of the young artists of Momartre.  Have you 
done much painting?" 

"A fair amount," he said.  "Manuel and I have done most of our work in
Spain wile studying at the Barcelona School of Fine Art.  We grew tired 
of the classical approach that the Spanish professors were trying to 
teach us and have come to Paris to energize our careers and explore any 
new techniques that the French are engaged in." 

""Yes, well you will find a vast amount of interesting things to wet
your appitite here Mr. Picasso," said Vollard.  "Spend some time with 
Mr. Manyac and he will show it all to you.  Then perhaps you will allow 
us to display some of your work when it is completed." 

"We certainly would like thau are without doubt more gracious then some
of the Spanish gallery owners have been that we have come in contact 
with." 

"Thank you', said Vollard. "And with that I shall leave you in the
capable hands of my partner.  By the way I am having a small dinner 
party at the Cafe Au Lapin Agile this evening.  I was wondering if you 
would be free to attend.  It would give you an excellent opportunity to 
meet some of Momart's new talent." 

We would love to come," said Pablo. 

"Good, say about eight o' clock," he replied.  "And bring that scalawag
Max Jacobs with you.  I understand that you have recently met him.  His 
dinner stories of the Paris underground always brighten an evening." 

Page 30 

With that Vollard turned and quickly made his way back to his office.
Pablo watched him go and smiled to himself shaking his head. 

"An interesting fellow." he said turning to face Manyac.  "Are his
dinner parties large affairs Mr. Manyac?" 

"No, they are usually quite small," he for this one he has invited Paul
Gaugane, Vincent Van Gogh, and George Braque." 

"Is Van Gogh not that Dutch painter that just recently cut of a portion
of his ear in a disagreement over a prostitute," asked Manuel?  "I do 
remember reading something about him." 

"Yes, I am afraid that he is," replied Manyac.  "He is a strange chap,
grows his hair quite long now to cover the deformity.  Paints in the 
most lurid colors and is financed solely by his brother.  We have had 
one of his sunflower paintings on display here for over a year and no 
one has ever even made an offer on it." 

"Yes, I too have read of this Van Gogh fellow," said Pablo.  "Seems his
friend Gaugane and his brother are the only two people that really 
understand him.  I would like to see this sunflower painting if it is 
not too much trouble." 

"That will be no trouble at all Mr. Picasso," said Manyac.  "We have it
hanging on our east wall.  I would be interested in hearing your 
impression of it." 

The three men then Van Gogh's "Sunflowers" lay.  It hung in an
attractive frame and as Pablo gazed up at the canvas he was struck by 
the artists powerful brush strokes and use of vivid color. 

"I think that it is a majestic painting," he said turning to face
Manyac.  "I have never seen such powerful brush strokes or anyone use 
such brilliant color." 

Page 31 

"Yes, well you are the only one that has ever liked it," said Manyac.
"One Paris art critic wrote that it was the over powering ramblings of 
a madman." 

"Did the Paris art critic actually call Van Gogh a madman," asked
Manuel? "I too rather like his brush strokes and use of color." 

"Yes, they most certainly did," he replied.  "Now many of them refuse to
review any of his work.  Nevertheless Van Gogh continues to paint with 
the financial help of his brother.  Unfortunately he is not a well man 
for he suffers from fits of depression.  He spent four months in a 
sanitarium that is not far from here last year." 

"Tuot; 

"He appears to be," replied Manyac.  "I think the rest did him some good
but with Van Gogh you can never be certain." 

"I look forward in meeting him this evincing," said Pablo.  "I am also
anxious in talking with Paul Gaugane and George Braque.  I understand 
that Gaugane has spent a great deal of time painting in the tropics." 

"Yes he has.  Gaugane is another strange case," continued Manyac.  "He
was an accomplished stockbroker here in Paris then suddenly gave all 
this up to become a painter.  He left his wife and children and moved 
to Tahiti.  We have a good selection of his paintings in our gallery 
and he has become the favorite of the art critics and general public. 
George Braque has even considered traveling with him on one of these 
tropical excursions." 

"I understand that Braque is also an unconventional artist," said
Manuel.  "It is true that he uses a staccato brushstroke." 

"Yes it is," he replied.  "Braque was the son of a commel decorator and
attended the Ecole des Beaux-Arts in Paris.  he uses this throbbing 
brush work in all his paintings.  I understand that now that he is 
working on something new which he 

Page 32 

claims will revolutionize the art world." 

"Is Gaugane doing any painting in Paris now," asked Pablo? 

"I do not think so," said Manyac.  "He is presently staying with Van
Gogh in a small studio that they sometimes share not far from here. The 
two men have been good friends for a couple of years.  He is currently 
trying to raise enough money to finance another excursion to the 
tropics.  Ambrose Vollard and I may back this venture provided that he 
gives us the sales rights to all the paintings that he completes.  I 
think that you will find all three men quite fascinating and it should 
be an enjoyable evening." 

"Yes, I really think that it should be Mr. Manyac," said Pablo.  "You
have really given us an insight into what  some of the French painters 
have been doing.  I still have not decided what style I but I will 
assure you that the Vollard Gallery will be one of the first to display 
it." 

"That will be our pleasure Pablo," he replied.  "Ambrose Vollard and I
have helped many young artists become established in the art world and 
we would like to do the same for you." 

Upon saying this Pablo and Manuel shook hands with the young gallery
owner and once more made final arrangements to meet for the dinner 
party that evening.  The two men then turned and left the gallery 
making their way into the late afternoon sunshine.  As they walked 
along rue Lafayette back to their own studio Pablo's mind was filled 
with the vivid images of the various paintings that he had seen. 

"This has been a rewarding afternoon Pablo," said Manuel coming to a
halt before a roadway.  "I never would have imagined that the French 
were painting with such brilliant colors." 

"Yes their use of color and texture is truly astounding," he replied.
"But I am still puzzled as to the style of painting that I shall 
undertake. conventional artists and create a new style of my own." 

Page 33 

"Do you not think that would be somewhat risky my friend," said Manuel.
"These Paris art critics seem to be a close affiliation and not subject 
to change." 

"Yes, well change is what painting is all about," he said.  "Perhaps
these Paris art critics are due for a major alteration in their way of 
thinking." 

The sun was slowly slipping behind the buildings of Momartre when Max
Jacobs knocked lightly on the door of Pablo's studio.  When he heard 
that he was invited to Ambrose Vollard's dinner party he was delighted 
and now elegantly dressed in a new long coat and top hat and carrying a 
walking stick he waited patiently for the door to open. 

"I can't believe that Ambrose Vollard actually invited me to one of his
dinner parties Pablo," he said standing in the center of the small 
studio.  "He has a reputation throughout Paris for getting together the 
most fascinating people at these affairs."  

Yes he has invited you," said Pablo smiling.  "And I understand that he
has invited Paul Gaugane, Vincent Van Gogh and George Braque also.  I 
think that it should be an enjoyable evening." 

"Ah Gaugane," he said leaning on his walking stick.  "I had heard that
he had just arrived back in Paris from the tropics.  This was the trip 
that he wanted George Braque to accompany him on.  I wonder how much 
work he has brought back with him." 

"From the amount of work we saw in the Vollard Gallery this afternoon I
would say a great deal," replied Pablo.  "His use of bright color and 
his semi clad females I found to be very erotic." 

"Yes, Gaugane is one of the exceptional young artists in Momartre
today," said Jacobs.  "He is one of the most prolific French painters 
and the critics love his work." 

"But tell us Max why has Van Gogh had so many problems," asked Manuel? 

Page 34 

"Manyac showed us one of his paintings that had been hanging in the
gallery for over a year with no offers on it." 

"Yes, well aquot;He paints with great intensity and I have never seen
anyone so subject to mood changes as that man.  Some critics say that 
he is unreliable and other say that he is quite mad.  He will lock 
himself away in his studio for days at a time when he is depressed.  I 
believe that he has a medical problem.  His brother put him in a 
sanitarium for four months last year and they claim that he is cured 
but you are never certain in these cases.  I understand that when he is 
happy he paints sunflowers and when depressed everything else.  Perhaps 
he is a little mad." 

"I am looking forward in meeting all three of these men this evening,"
said Pablo slipping on his jacket. "Unfortunately it is growing late 
and we should be going.  I would hate to keep Mr. Vollard waiting." 

"Yes, I suppose that you are right Pablo," said Jacobs.  "When Ambrose
Vollard hosts a dinner party he expects his guests to be punctual." 

As the three young men entered the crowded Cafe Au Lapievening and made
their way to the bar Ambrose Vollard and Pere Manyac were nowhere in 
sight.  Pablo ordered three glasses of anisette and looked over the 
mass of cafe patrons enjoying their dinner. 

"Would you know if Ambrose Vollard is hosting a dinner party here this
evening," he asked the bar tender when he returned with the drinks? "We 
are to join him." 

"Why yes," replied the young man.  "He has reserved a small dinning room
that is just up those stars.  I could have your drinks sent up if you 
like." 

Pablo led the way up the wooden staircase and when he reached the top he
found a long hallway that contained a series of large and small dinning 
rooms.  All of these were occupied by people some of them elegantly 
dressed drinking champagne 

Page 35 

and feasting on gourmet food.  As they gathered at the top of the stars
Pablo heard Manyac's and Vollard's voices laughing and made his way 
towards the sound. 

"Ah Pablo, you have finally arrived said Manyac getting to his feet from
behinda bright young artist you are." 

""You are too kind Mr. Manyac," he replied looking over the faces of the
three young men that were seated before him.  "I am just a struggling 
young artist like many that you have in Momartre." 

"Yes, well that might be," said Manyac.  "But I would like to introduce
Paul Gaugane, Vincent Van Gogh, and George Braque.  You were able to 
view some of their work in my gallery this afternoon." 

"This is a pleasure," he said shaking hands with the three young men. "I
would like to present my friend and another young artist Manuel 
Pallares.  We were both quite taken with your work and would like to 
talk to you about it." 

"Oh really," said Van Gogh returning to his seat.  "In what way were you
touched by my paintings?" 

"I specially enjoyed your use of color Mr. Van Gogh," said Manuel.  "I
also loved your powerful brush strokes.  It is unfortunate that the art 
critics and general public cannot see what a great art 

"Yes, well most of them are fools," he replied.  "But one day my work
will be recognized for what it is worth.  Have you and Mr. Picasso 
began to paint here in Paris.?" 

"No, we are still studying what the French painters have been up to in
the last year," replied Pablo.  "I am still uncertain as to the style 
that I shall follow.  I may break away and paint something in a manner 
of my own." 

Page 36 

"Now that sounds interesting," said Gaugane.  "Perhaps you should come
with me to Tahiti for the tropics is a wonderful place to begin a new 
style of painting.  You will not be plagued by bad reviews wile you 
work and the climate is marvelous." 

"The art critics have never bothered me," said Pablo.  "I paint for my
own enjoyment or feeling.  If the art critics cannot understand my work 
they can all go rot in Hell." 

"Ah, nicely put Mr. Picasso," said Vollard lifting his glass in a toast.
"I only hope that the Vollard Gallery is the first to show any of your 
new work before it is eithe "Have no fear Mr. Vollard," said Pablo.  
"You shall be the first to view any of my new work." 

"Can you tell us a little more of this new style of painting that you
are considering," said George Braque.  "For I too am interested in 
breaking away from these conventional French artists." 

"That is interesting Mr. Braque," said Pablo.  "I also have been drawing
and painting in the accepted style and have grown bored.  I have tried 
experimenting with different shades and colors but everything always 
remains the same.  Perhaps it is time for me to team up with someone 
like you and together we will set the art world on its ear." 

"It is fascinating that you say this," replied Braque.  "I too have been
working with shapes and colors that you may find alluring.  Perhaps you 
and Manuel could drop by my studio and I will show you what I have 
done." 

"Yes, we could come by tomorrow afternoon," he replied.  "I would really
like to begin painting before I become bored." 

 "There is much to occupy the mind of a young painter in Paris today,"
said 

Page 37 

Vollard.  You may want to have a look at the Tocadero after you have
visited Braque's studio.  It is a flea market that is held daily on the 
banks of the Seine river.  There are a lot of fine pieces of art from 
other countries and perhaps you will find something to inspire you.  I 
sometimes wonder through its stalls and have seen pieces from Africa, 
and Egypt.  some claim that it is a magic place." 

"Yes possibly I could meet you there," said Braque.  "It is not far from
my studio and I sometimes find it restful to be surrounded by the art 
of the present day world." 

"Yes, that would be fine Mr. Braque," said Pablo.  "We shall look for
you around ten o' clock tomorrow morning." 

As the evening progressed much wine was consumed by Vollard and his
guests.  Large platters of food were brought into the small dinning 
room allowing each man to eat his fill.  When the last morsel of food 
was gone Ambrose Vollard raised hi "I would like to propose a toast to 
Paul Gaugane," he said.  "He has recently returned from the tropics 
with a vast amount of newly completed paintings that will soon be on 
display in my gallery.  I would also like to welcome Pablo Picasso and 
his friend Manuel Pallares to Paris and wish both of them every success 
in their new endeavors." 

"Thank you Mr. Vollard," said Pablo getting to his feet.  "You have made
both myself and Manuel feel receptive in your city and for this we will 
be for ever grateful.  What the future hold for us in the art world no 
one can say for certain but with people like you supporting the young 
artists of Paris the Momartre district will only flourish." 

A short time later the dinner party broke up with Manyac and Pablo
agreeing to meet for drinks the next day.  The young man assured the 
gallery owner that he would bring a full report on how they made out at 
the Flea Market Trocedero. 

"Van Gogh, Gaugane, and Braque, seem like nice people," remarked
Mancan't really see what all the 

Page 38 

fuss is about the state of Van Gogh's mental health.  He seemed to be in
good spirits tonight." 

"Yes he appeared to be feeling fine this evening," said Jacobs. "Perhaps
his stay in the sanitarium has done him some good." 

"I think that the sale of a couple of his paintings would do him a lot
more good," said Pablo.  "I imagine that it would be extremely 
frustrating not to have your work excepted by anyone." 

"Yes, but if Van Gogh would only paint a little more conventionally,"
said Jacobs as he crossed a roadway.  "He could sell all his paintings. 
But he continues to paint in that demented style of his." 

"We all have to paint what we feel," said Pablo.  "Perhaps in time
people will recognize Van Gogh's work for what it is and pay him a 
little respect for it." 

The next morning Pablo and Manuel rose early and made their way to the
flea market.  As they approached the banks of the Seine the 
shopkewares.  The artwork that beginning to surround the two young men 
was astounding.  It was made up of finely carved jade from the Orient, 
wooden sculpture with inlaid mother of peril from India, and the large 
heavy tribal masks that had been brought from Africa. 

"The artwork here is amazing," said Manuel as studied the finely crafted
piece that he had picked up from one of the tables.  "I never thought 
that the other countries in the world could do such fine work as this." 


"Yes my friend Vollard was right," said Pablo.  "One could become
inspired at this flea market." 

The two men strolled slowly past numerous tables and gazed at the
statues, figures, and carvings.  As Pablo approached one of the last 
tables he was struck by a 

Page 39 

small black statuette laying in a red satin lined wooden box.  He was
astounded by the object's purity of line.  It was an example of a fine 
piece of classical art. 

"Excuse me sir," he said to the young male. "How much is that statue
that you have here?" 

"To francs," he replied not looking up. 

"I will give you one franc," said Pablo picking up the box and pulling a
bill out of his jacket pocket.  "That seems a fair price." 

"You drive a hard bargain sir," said the young man.  "But the morning is
young and I have much merchandise to move. The statue is yours." 

He took the money and Pablo slipped the wooden box under his arm.  He
then joined Manuel and the two men made their way past the remaining 
tables. 

"This is a gorgeous statue Pablo," said Manuel as he and Max Jacobs
studied the piece of art later that morning back in the young man's 
studio.  "Do you have any idea who may have carved it?" 

"Not the faintest," he replied setting out some drawing paper and
pencils.  "But I knew that I just had to have it.  The piece has the 
character and purity of line that I have never seen before in a 
carving.  Max, do you have any idea who may have done it?" 

"Yes, it may be the figure back into its box.  "She is a black woman who
carves with exceptional talent." 

"That is interesting," said Pablo.  "What can you tell me about her?" 

Page 40 

"I do not know too much," he said.  "I have become aware that Douglas
Camp's home is the country of Nigeria in Africa but she has spent a 
great deal of time in the west receiving and education.  I have also 
heard that she carves tribal masks that are as wonderful as the 
statuette that you possess.  She has done most of her work in Europe 
for her people resent the influence the western world has had on her." 

"This all sounds fascinating Max," said Pablo.  "But I was wondering
were she has her studio?" 

"That is a good question," he replied?  "Perhaps Germany or even London.
Douglas Camp keeps a low profile so it could be anywhere." 

"Are you going to begin to paint soon Pablo," asked Manuel? "Ambrose
Vollard does sound anxious to see some of your work." 

"Yes I know he is," he repliedtient a little wile longer until I
determine exactly what style I will follow. I will also have to contact 
Miss Odette Le Clair and see if she is free to model for me." 

"Pablo were were you able to locate a model so quickly," said Jacobs.
"There are not many women here in Momartre that are in that 
profession." 

"Yes I know," he replied.  "I was fortunate enough to meet her on the
train when we were arriving from Madrid.  She is an attractive young 
lady that was traveling with her grandfather from a small town in 
Normandy.  I think that she will fit my requirements perfectly." 

"Max, would you care to accompany us to George Braque's studio this
afternoon," said Manuel?  "We are uncertain of its address and would 
enjoy your company." 

"Why yes I would love to go," he replied.  "I would love to see some of
this new work that he has been engaged in." 

Page 41 

"Excellent," said Pablo.  "It is growing late so I suggest that we get
moving.  I too would like to see what hethis new style of his will 
interest me." 

Pablo slipped on his jacket and the three men left the studio and made
their way across the streets of Momartre.  About fifteen minutes later 
they found the small studio of George Braque located next to a livery 
stable and knocked softly on its door. A few seconds later it was 
opened by a  man dressed in a painters smoke and wearing a large hat. 

"Ah Pablo and Manuel," he said.  "I was just thinking about the two of
you.  Do come in, and I see that you have brought brought Max Jacobs 
with you.  This is indeed a surprise." 

"Yes, I was curious as to this new style of painting that you have been
engaged in George," said Jacobs.  "I hope that we will be able to see 
some of it." 

"Why yes, I have just completed a small still life that you may find
interesting," he replied.  "I have reduced the entire canvas into a 
series of abstract cubes which I believe all objects are made up of. To 
add to this effect I have also added light and shadowthem down into the 
same style.  The completed canvas is still on my easel.  Come and see 
what you think." 

Braque led the three young men across the room to were he had just
finished painting and there lay the the completed canvas.  Pablo peered 
at it for a few long minutes without saying a word trying to absorb 
this new technique that had just been explained to him. 

"I think that I like it Mr. Braque," he finally said facing his host. "I
too have been searching for a new style to paint in and I think that 
this may be it." 

"Thank you Pablo," said Braque throwing a dust cover over his painting.
"Now tell me why would you like to pursue this new style of painting?" 

Page 42 

"Well, in the past year or so I have become bored with what I have been
doing," he said.  "This new style of yours may be the key in unlocking 
a whole new world of art for me.  But have you been influenced by any 
other artists in developing such a radical art form?" 

"Yes, I would have to say that i have been," rot;I have spent a great
deal of time studying the art of Africa and even the ancient Egyptians 
and perhaps have been swayed by them a little." 

"Fascinating," said Pablo.  "I too have become interested in African art
after recently purchasing a sculpture done by Sokari Douglas Camp." 

"Ah yes, Douglas Camp,"  he replied thoughtfully.  "I know her work
well.  She has become one of the influences that led me to this new art 
form." 

"Well thank you for your time Mr. Braque," said Pablo.  "Ambrose Vollard
and I are meeting for drinks later this evening and perhaps you would 
care to join us for I am sure that he would be interested in this new 
art form of yours." 

"Yes, that would be a pleasure Pablo," he said escorting the three young
men to the door.  "Perhaps I will also be able to introduce you to 
Daniel Henry Kalweiter.  He is likewise a gallery owner here in 
Momartre and has expressed interest in this art form." 

I would like to emerge on the Paris art scene with perhaps a large
paintld possible band together and host a fall showing.  Do you think 
that this Kalweiter could accommodate us?" 

"Most certainly he replied.  "I also have completed a couple more
paintings in this Cubic style and would love to put them on display.  I 
think that  between the two of us we could host an impressive 
exhibition." 

"Yes, well we shall look for you around eight o' clock George," said
Pablo. 

Page 43 

Pablo and Manuel then shook hands with Braque and the three young men
then made their way out of the studio.  As Pablo walked back to the 
Bateau Lavoir he began to seriously think of doing a large painting in 
this new Cubistic style and wondering what the subject would be. 

"You seem deep in thought my friend," said Manuel as they walked along a
roadway.  "Is there anything wrong?" 

"Oh no," he replied.  "I was just wondering how lucky I will be in
securing Odette as a model for this new project that I am about to 
undertake." 

"Ah yes,ot;I would suggest that you try to contact her as soon as
possible.  a model may be a hard thing to find here in Paris." 

"Yes Manuel is right Pablo," said Jacobs.  "A good model is at a premium
here.  I would try and speak to her as soon as possible." 

"I was planning to Max," he replied.  "She told me to contact her
through the underground newspaper Le Clove when I had my studio set 
up." 

"Ah, the Le Clove," said Max.  "that is a subversive newspaper that a
lot of the writers and artists here in Momartre read.  That paper 
should be an excellent way in reaching her." 

When Pablo and Manuel arrived back at the studio the young man
immediately sat down and began to write a response to Odette.  When he 
had it completed he placed it in an envelope and hurried into the 
street to get it into the late afternoon mail.  When he arrived back at 
the Bateau Lavoir he washed his face, put on a clean shirt, and combed 
his hair for his meeting with Ambrose VollardKahweiler. 

It was a little after eight o' clock that evening when Pablo and Manuel
made 

Page 44 

their way towards the entrance of the Cafe Au Lapin Agile.  As the
approached the bar the found George Braque seated with a young man of 
about thirty years of age dressed in an expensive suit. 

"Ah Pablo and Manuel," he said getting to his feet "I would like to
introduce Daniel Henry Kahweter.  He is the gallery owner that we 
talked of earlier today." 

"Mr. Kahweter this is a pleasure," he said shaking hands with the young
man.  "I understand that you are considering showing some of Mr. 
Braque's new work." 

"Yes, this new style called Cubism that he has been telling me about
sound interesting," he replied.  "I also understand that you are 
planning something that I may be able to exhibit." 

"That is true," said Pablo.  "Perhaps you would be interested in showing
both our works." 

"I would consider that an honor Mr. Picasso," said the gallery owner.
"If your work is half as good seen in Mr. Braque's studio the exhibit 
should be a resounding success." 

"I will not disappoint you sir," replied Pablo.  "I am planning a rather
large canvas for this event and I only hope that your gallery will have 
the space and light to display it properly." 

"I can assure you sir that my gallery will furnish everything that you
will need," he said.  "Now tell me have you been painting long?" 

"Yes, a considerable time," replied Pablo.  "But unfortunately most of
my work has been on display in Spain." 

"Ah, so you are this Spanish painter that I have been hearing so much
about," 

Page 45 

he said.  "Well I certainly will be looking forward in seeing this new
work of yours." 

A few minutes later Ambrose Vollard joined the three men and the group
adjourned to a small table for the rest of the evening.  Quickly the 
discussion shifted to another aspect of the art world and continued 
until late in the wee hours.  Much wine and brandy was consumed by 
everyone anspirits. 

"Pablo would you say that the African statue that you purchased
yesterday would be a good object to base your new painting on," said 
Manuel as he cleared away the morning breakfast dishes" 

"That is an interesting proposal Manuel," he said.  "Perhaps I shall use
some of the design in the statue for this new project of mine.  I would 
also like to capture its simplicity of form and also incorporate that 
into my work." 

A few hours later the entire floor of the young man's studio was strewn
with  countless sheets of drawing paper.  Each sheet had virtually the 
same drawing on it , the large face of a woman with a single eye, a 
nose too large that merged into a mouth, and a lock of hair on a 
shoulder.  Pablo sat in one corner of the room balancing a sketch pad 
on his knee composing yet another drawing when Max Jacobs entered the 
studio through a partially opened door. 

"This is an interest concept Pablo," he said picking up one of the
drawisimilar to this for your new work?" 

"Yes, I have been considering it," he replied looking up.  "These
drawings that I have made are my interpretation of one of the masks 
that I saw at the flea market Trocadero yesterday.  I believe that it 
is the work of Sokari Douglas Camp." 

"Ah yes, I can see it now," said Jacobs.  I have examined much of her
work throughout the galleries of Momartre.  She is a fine artist." 

Page 46 

"I have also sent out a short note to Odette Le Clair," said Pablo.  "As
you recall me telling you she is the young woman that I met on the 
train when Manuel and I arrived in Paris.  I was hoping that she would 
be free to model for me." 

"Ah, well it is good to see that this new project of yours is so well in
hand," said Jacobs.  "If there is anything more that I can do for you 
just name it." 

"Thank you Max but I think that I have done everything that i need,"
said Pablo.  "If I do fail to make contact with Odette perhapswill need 
you to locate a new model for me." 

Around ten o' clock that morning there was a faint knock heard on the
studio door and when Pablo opened it there stood the slim figure of 
Odette Le Clair.  She was dressed in a simple light peasant blouse and 
skirt and her hair hung down in soft curls. 

"Why Odette this is a pleasant surprise," said the young man.  "Do come
in and make yourself comfortable." 

"Thank you Pablo," she said stepping into the room.  "I read your reply
to my advertisement  in the Le Clover this morning and came right over. 
Do you require me to pose for you?" 

"Yes, I am looking for someone to strike a pose for this new project
that I am beginning," he said.  "Are you free to begin to work for me." 


"Why yes, that would be wonderful," she replied.  "How long will you
require me to work?" 

Perhaps a week or so," he said.  "I will first have to complete some
sketching before I can get into the actual project though. It will 
depend on how the work goes.  Is that a problem?"  

Page 47 

"Well no, not really," she replied.  "It is just that  I must see my
grandfather and his new nurse off tomorrow morning on the train back to 
Normandy.  then I shall be free to model for you as long as you require 
me." 

"I cannot see that being a problem Odette," said Pablo.  "Perhaps I
could even join you at the station tomorrow and when the train leaves 
we could have a little breakfast and I could explain how I would like 
you to pose for this new painting of mine." 

"That is a wonderful idea Pablo," she said turning and taking a few
steps towards the studio door.  "Unfortunately I have already left my 
grandfather alone too long with with his nurse this morning and I must 
be getting back to him.  I shall look for you at seven o' clock 
tomorrow morning at the train station.  Until then I bid you a good 
day." 

With that Odette turned and opened the studio door and gracefully
disappeared down the hallway.  The young man stood watching as she took 
leave and thought once more of what a perfect The next morning Pablo 
arrived at the strain station well before seven o' clock.  He took a 
seat on one of the hard wooden benches and watched the early morning 
passengers milling around, checking luggage, and the departure times of 
the two steaming trains that sat waiting on the tracks nearby.  As the 
young man sat he spotted Odette and her grandfather making their way 
towards him.  A young nurse dressed in a white hospital uniform 
steadied the elderly man and a porter brought up the rear carrying 
their luggage. 

"Ah Pablo, there you are," she cried waving to the young man.  "I
thought that we would never find you among all these people." 

"Yes, the train station appears to be very busy this morning," he
replied.  "I would make sure that all your grandfather's luggage gets 
put aboard his train as soon  as possible and nothing is forgotten. 
Some of these French baggage handlers can be quite neglectful." 

Page 48 

Yes, I suppose that you are right," she said turning to the now sthat
all my grandfather's bags are put on the train and nothing is lost.  If 
you do this for me I will see that you receive a nice tip for your 
trouble." 

"Oh thank you Madame," he said putting down one of the heavier bags for
a moment.  "Do not fear I will make sure that everything is put aboard 
his train when it departs." 

A few minutes later the station master announced that the train to
Normandy and all points East was now ready for boarding.  Pablo 
followed Odette, the elderly gentleman, and his nurse as they all made 
their way out of the station and onto the long wooden platform were the 
train waited.  Odette said her goodbyes to her grandfather and gave the 
nurse some last minute instructions before the two climbed aboard.  A 
moment later a whistle was heard and the locomotive puffed and snorted 
out of the station with the old chap waving to everyone out an open 
window. 

"I suppose that I am all yours now Pablo," said Odette as sheod watching
the train disappear behind some buildings.  "I only hope that my 
grandfather has a safe journey home." 

"I am sure that he will," said Pablo as the couple turned and made their
way across the platform and out of the station.  "The nurse that you 
hired seems quite competent.  But now I think that a little breakfast 
is in order for i have missed my morning coffee." 

"Yes, some coffee and perhaps a little bread would be wonderful," she
replied.  "I hadn't realized how hungry I have become." 

Pablo led Odette down a crowded street of morning shoppers that led away
from the station and into a small sidewalk cafe.  It was early and the 
proprietor was arranging vases of fresh flowers for his tables.  The 
young man chose a table to the right of were he was working and they 
both took a seat. 

Page 49 

"I think that fresh bread and coffee will hit the spot," said Pablo
waving his arm to get the owners attention.  "I always work and think 
better on a full stomach." 

"Yes, I am afraid all thigrandfather on a train back to Normandy has
left me quite famished," she said. 

"I am certain you will feel better after you have eaten something my
dear," he replied. 

After the couple had eaten Pablo sat back in his chair and let a
cigarette.  He puffed on it quietly for a few minutes absorbed in his 
thoughts. 

"You seem to be terribly far away Pablo," remarked Odette slowly sipping
her coffee.  "What are you thinking about?" 

"Oh, I have just been pondering on how I will attempt to pose you when I
begin this new project of mine," he replied.  "I want this painting to 
be far different from anything that I have ever done." 

"Oh, I see," she said.  "Have you been drawing and painting for long?" 

"Yes, it seems that I have been at it for all my life," he said looking
over at her through a cloud of cigarette smoke.  "My father was a 
drawing teacher in Barcelona and he was the first to teach me 
everything that he knew.  I then as you already know attended the 
Barcelonand told me to leave.  I then became quite disillusioned with 
the art world and it was Manuel that persuaded me to come to Paris.  I 
want to strike out into a new direction and  find some purpose in my 
work." 

"I see," she said continuing to sip her coffee.  "Have you been able to
make any decisions as to the direction in which your work will go?" 

Page 50 

"Well yes, sort of," he replied.  "I have been studying some African
work done by Sokari Douglas Camp.  Her simple style I would like to 
copy.  I have also become quite interested in this new technique of 
painting called Cubism that George Braque is currently engaged in.  I 
hope to maybe use this style in the painting that I will do of you." 

"This has all been very interesting Pablo," she said.  "I shall try to
be a good model for you.  When do you plan to begin this work?" 

"I suppose that we could commence with a few preliminary sketches this
morning if you are up to it," he replied.  

"Yes that is no problem," she said.  "I am free for you to do as you see
fit.  Shall we go it your studio and begin?" 

Ten minutes later the couple approached the Bateau Lovoir and entered by
the side door quickly making their way down the hallway to Pablo's 
studio.  Manuel had gone to the Farmers Market that morning with Max 
Jacobs to purchase some supplies and the small studio lay in a quiet 
almost tranquil state. 

"I think that I would like to start with some simple charcoal sketches
of you," said Pablo moving a high wooden stool in front of the large 
picture window.  "We have perhaps an hour or so of good light and these 
drawings will give me something to base my more serious work on." 

Pablo instructed Odette to take a seat on the stool and when he had her
positioned to his liking made his way over to his easel and began to 
draw.  An hour later the floor around the easel was strewn with perhaps 
a dozen sheets of drawing paper.  Each sheet had virtually the same 
drawing on it, Odette's slim figuoff into the distance at some 
imaginary object. 

"I think that we have done enough for today Odette," said the young man
putting down his charcoal and wiping his hands.  "Tomorrow we shall 
begin again when the light is better.  I may even have enough drawings 
of you to begin to paint." 

Page 51 

Suddenly muffled voices were heard coming from the hallway and a second
later the studio door opened revealing the figures of Manuel and Max 
Jacobs.  The two men carried numerous parcels that they had purchased 
in the Farmers Market and proceeded to place them on a small table that 
was reserved for eating. 

"Just wait until you see all the good food we have bought Pablo," said
Manuel turning to face the couple.  "Oh, I see that we have company. 
You have also spent some time working this morning.  That is good my 
friend for I have often thought that you have been idle for too long." 

"Yes, I have had a rather productive day Manuel," he replied.  "Max,
Manuel, I would like to inthat I met on the train.  She has agreed to 
model for this new project of mine." 

"This is indeed a pleasure my dear," said Jacobs tipping his hat to the
young woman.  "It is always very exciting news when an artist begins a 
new project here in Momartre.  Manuel has told me of some of the 
printings and sculptures that you have completed in Spain and I think 
that you are a gifted artist.  I am looking forward in seeing how this 
new work of yours progresses." 

"Yes, well Manuel my young friend does tend to exaggerate at times Max,"
replied Pablo.  "I was growing bored in Barcelona with Spanish art 
critics that were not giving me any recognition for my work.  I think 
that this new project just may change their minds and give the people 
of the world a new way to look at a painting." 

"This has all been very interesting Pablo," said Jacobs taking a seat on
the sofa.  "Has this new project of yours anything to do with what 
George Braque has currently been doing?  I underdabbling in this new 
Cubism art style that has recently gained some popularity." 

"Why yes," he replied.  "I plan to join with Braque in a showing that he
is planning for this fall.  We have already made plans for David Henry 
Kalweiter to host the exhibition in his gallery." 

Page 52 

"Why that is wonderful," said Jacobs.  "Kalweiter has a large following
of art dealers that regularly purchase paintings and sculptures  from 
his gallery.  I am sure that you will be able to make a quick sale of 
almost anything that you paint." 

"Yes, I suppose that may be true," said Pablo.  "But I feel that this
project may do wonders to inspire me and motivate me out of the 
artistic slump that  I have fallen." 

"Well I wish you all the best in all your endeavors my friend," said
Jacobs getting to his feet.  "Unfortunately I must be going for I have 
a few more errands to run.  Perhaps we all could have a drink later at 
the Cafe Au Lapin Agile and toast this new beginning that you have 
undertaken." 

 "Yes, we will look for you around eight o' clock Max," said Pablo
walking to the door with his friend.  "I am very excited about this new 
project and a fall showing with George Braque.  I think that I shall 
finally astonish the art world." 

It was shortly after eight o' clock when Pablo, Manuel, and Odette
entered the Cafe Au Lapin Agile and made their way to the bar.  The 
first person that they saw was Max Jacobs and seated next to him was 
Ambrose Vollard. 

"Ah Pablo," said Vollard putting down the drink that he was sipping.
"Max here has just been telling me of this new project that you have 
begun.  I cannot wait to see your completed work.  If the project 
proves to be a popular as Max claims I would be interested in hosting a 
second showing for you." 

"Yes, I am awaiting this fall showing with great anticipation," replied
Pablo.  "I think that you will find it exciting and I look forward to 
another exhibit in your gallery." 

"Very good my fine friend," said Vollard getting to his feet.  "I must
thought.  If you have not already eaten why don't you join us.  She is 
a renowned author and I think that you will find her company 
entertaining." 

Page 53 

"Thank you Mr. Vollard that would be lovely," replied the young man.  "A
bowl of soup would really hit the spot." 

Pablo and his three friends followed the gallery owner up a flight of
stairs to the second floor of the Cafe Au Lapin Agile.  It was here 
that there were located small and large dinning rooms or more elegant 
tables that were nestled away in secluded corners by numerous windows 
that overlooked the street below.  They quickly found one of these 
small dinning rooms and upon entering it came upon a seated woman of 
about thirty years of age dressed in black and engaged in scribbling 
something on a pad of paper. 

"Ah Miss Stein," said Vollard as they entered the room.  "I hope that we
have not kept you waiting too long." 

"No, not at all," she said looking up.  "I have justting down a few
thoughts for a new book that I am considering." 

"I would like to introduce Pablo Picasso and his friends Manuel Pallares
and Odette Le Clair," said Vollard.  "You already know Max Jacobs here, 
and I have asked them all to join us for dinner.  Pablo is a Spanish 
artist that has just arrived in Paris from Barcelona.  I think that you 
will find their company quite enjoyable." 

"Why yes, this is a pleasure," she said getting to her feet and shaking
hands with everyone.  "I am always anxious to make the acquaintance of 
any young artist or writer who has come to Paris to make it a home and 
hone his trade.  This city is a Mecca of new ideas and thoughts." 

"Thank you Miss Stein you are too kind," said Pablo taking a seat.  "I
have come to your city to begin a fresh start and leave all my old 
ideas and principles behind." 

"Yes, I have heard rumors that a young Spanish artist had recently come
to Paris to paint," she said.  "Can you tell us how you plan to startle 
the art world." 

 

Page 54 

"Certainly, I have recently become quite interested in this new art form
called Cubism," he replied.  "I am about to begin a large painting of 
Odette here in this style.  George Braque and I have also made 
arrangements for a fall showing this year that I think will astound the 
art world." 

"Interesting Mr. Picasso," she said.  "I have seen some of George
Braque's work and it is impressive.  But do you think that the Paris 
art critics will recognize this style of painting for its true value?" 

"I have never really paid too much attention to art critics Miss Stein,"
said Pablo.  "I am trying to begin a new period in my life as a painter 
and weather an art critic excepts this work of mine really does not 
concern me." 

"Yes. well I must say you have spirit  Mr. Picasso," said Stein getting
the attention of the waiter by waving her arm.  "I suggest that we now 
have dinner for I am growing hungry." 

Five large bowls of onion soup were then ordered along with two carafes
of wine and the group selast morsel of food was consumed Pablo sat back 
in his chair and let a cigarette. 

"Well I must say I toughly enjoyed that," he said blowing smoke into the
air.  "I didn't realize how hungry I had become.  I suppose all this 
talk of art makes one ravenous." 

"Yes, the food here is excellent," said Stein.  "So tell us Pablo have
you begun this new project of yours?" 

"I have only done a few preliminary charcoal sketches of Odette," he
replied.  "I am still not sure how I will pose her for the actual 
painting." 

"Perhaps you could build a small stage or staircase and have her
standing on it," suggested Stein. 

Page 55 

"Yes, that is an excellent idea Miss Stein," said Pablo.  "We have ample
wood just outside our studio and perhaps Manuel and Max could build 
something for me." 

"I am sure that Max and i could build something for you Pablo," said
Manuel.  "We shall start first thing in the morning." 

the next day Manuel and Max Jacobs carried a number of piecwood into
Pablo's studio.  They then began to construct a rough staircase and 
within an hour or so had it partially completed. 

"That is beginning to take shape Manuel," said Pablo looking over the
rough construction.  "This should be perfect for my painting." 

Suddenly a soft knock was heard on the studio door and when Manuel
opened it there stood Odette ready to pose for another day of 
sketching.  She wore a light summer blouse and skirt and as she entered 
the studio she gazed at the rough staircase that Jacobs was still 
working on. 

"And what is this Pablo," she said looking over the structure? 

"It is a staircase upon which you will stand my dear," he replied
walking over towards her.  "I realize that it is a little rough in its 
present state but it will serve the purpose all right.  Wile Max and 
Manuel are finishing their project I will continue with a few more 
charcoal sketches of you." 

Pablo once more posed Odette on the high wooden stool before the window
and returned to his sketch paJacobs continued with their sawing and 
hammering for another half hour until the framework that they were 
working on resembled something like a staircase. 

"Max and I are finally finished Pablo," said Manuel brushing some
sawdust of the sleeve of his shirt.  "We are both off to the market for 
some bread and milk and will leave the studio to you." 

Page 56 

"You both have done a fine job Manuel," said Pablo glancing over at the
newly constructed framework.  "I am deeply grateful for all your 
efforts." 

Pablo continued to draw for the next hour and each sketch that he
completed he pinned on a large cork board that he had attached to the 
wall.  Finally he set his piece of charcoal down and wiped his hands on 
a piece of rag. 

"I think that we have done enough for today Odette," he said looking
over his completed work.  "Perhaps tomorrow I shall begin to paint." 

"Your drawings do not look too bad Pablo," said Odette slipping off the
stool and standing beside the youmatters but I especially like this 
drawing." 

"Then you shall have it for a present," he said taking the drawing down
and beginning to roll it.  "Perhaps when I am famous you can look at it 
and remember how it was when I first started." 

"I think that you shall become quite famous soon," she said taking the
drawing fro the young man. 

"You are too kind my dear," he replied.  "It is unfortunate that you are
not one of the Paris art critics." 

"If I were a Paris art critic I would not have to worry about becoming
so stiff and sore from long hours of sitting on a hard stool," she said 
stretching.  "Being a model is no easy job." 

"You are quite right my dear," said Pablo putting way his charcoal.
"Perhaps we could have a little dinner tonight and then relax 
afterwards." 

"Yes, I would like that Pablo," she said.  "We could find a small
sidewalk cafe 

Page 57 

somewhere and then perhaps take a long walk along the river.  The Paris
evenings are so pleasant this time The stars were just beginning to 
twinkle in the evening sky as the couple sat in a secluded table in a 
small sidewalk cafe near the bank of the river.  The young man sat sat 
quietly sipping a glass of wine and gazing up into the night sky and 
thinking how peaceful everything was.  His thoughts quickly returned to 
his project and he began to ponder on the ways he could pose Odette for 
his painting. 

"Now isn't this nicer then sitting in that crowded noisy cafe as you
always do Pablo," said Odette as she also sipped her wine. 

"I have to admit this is nice my dear," he replied.  "I hadn't realized
how tired I had become.  Having dinner here was an excellent idea.  I 
still don't know how I will pose you for my painting though." 

"Yes, I can see that could be a problem," she replied.  "Perhaps I could
be holding something or poised to begin an event like climbing a flight 
of stairs." 

"You may have something there my dear," he said ideas racing through his
mind.  "I could possibly have you dwould make an interesting 
composition do you not think?" 

"Yes, I think that it would," she replied draining her glass.  "But the
waiter is bringing our food so let us enjoy our dinner and we can 
discuss matters further tomorrow in your studio." 

When the last morsel of cheese and sliced cold meat was consumed Pablo
sat back in his chair and let a cigarette.  He offered one to Odette 
and the couple sat quietly smoking in silence. 

"We could perhaps take a short walk along the river bank," said Pablo.
"The evening is fine and I think a little exercise would do us good." 

Page 58 

"Yes I would like that Pablo," said Odette.  "It is a gorgeous evening
for a walk." 

Pablo extinguished his cigarette and left a couple of francs on the
table to pay for the wine and food they had eaten.  He took Odette's 
hand and led her away from the cafe and down a rough path towards the 
bank of the river.  When they reached the rivers edge they found 
another pathway that ran along the embfinally disappearing into the 
darkness. 

"This path looks a little narrow," said Pablo clutching the young
woman's hand a little more firmly.  "Stay close to me and watch your 
step." 

They made their way down this trail for a couple of hundred yards to
were it suddenly widened and looked out over the river.  A huge rock 
half buried in the earth lay to the right of were the young man stood 
and Odette pulled herself up onto it to rest for a moment. 

"Come and sit next to me Pablo," she said extending her arm.  "You can
see all the lights of the city from here." 

Pablo quickly scampered up the side of the stone and sat next to the
young woman.  He gazed over the river and looked at the bright lights 
of Paris. 

"This is an impressive sight," he said gently clasping Odette's hand. "I
only wish that i had some canvas and paint to capture it all." 

"Oh Pablo you have done enough work for today my dear," she said smiling
and moving closer to him.  "Now just sit here quietly apeacefulness of 
the evening." 

The young man slipped his arm around the shoulders of Odette and pulled
her towards him kissing her passionately on the mouth.  The couple 
remained locked in this intimate embrace for a few moments oblivious to 
the outside world. 

Page 59 

"Oh Pablo," cried Odette finally breaking the clasp and straightening
her blouse.  "I have wanted you to kiss me for so long.  I have grown 
so fond of you these past few days that it has become hard to bare." 

"Yes, I have become devoted to you also," he replied.  "You are the
warmest and sweetest person that i have ever met." 

With that he kissed her once more this time with more passion drawing
her down onto him.  when they finally broke the embrace the young 
woman's cheeks were brightly colored with desire and her heart pounded 
in her chest. 

"I, I think that we should continue our walk now Pablo my dear," she
stammered trying to regain her composure and flipping back a loose 
strand of hair.  "I do not want to do aregret later." 

"Yes, I suppose that we should," he said slipping down from the stone
and extending his arms to help her down.  "It is growing late and I 
have a hard day of painting planned for the both of us tomorrow.  I 
think that we both should get a little sleep." 

Pablo escorted Odette back to her small rooming house and then said good
night  telling her he expected back in his studio at 6 A.M.  He then 
made his way towards the Bateau Louvre.  As he walked along the now 
deserted streets of Momartre he began to think of the young woman.  He 
wondered if he was truly in love with her or was this some flirtation 
that he felt.  He entered the studio and found Manuel seated on the 
sofa reading a newspaper and smoking a cigarette. 

"Ah, you are home at last Pablo," he said looking up.  "Did you have a
good evening?  Max Jacobs and George Braque send their regards and 
George would like to talk to you about some ideas that he has regarding 
that fall showing the two of you are pla "Yes, I have a few things that 
i would like to discuss with him also," replied the young man.  "Did he 
give you any idea when he would like to meet?" 

Page 60 

"Yes, he said you could drop by his studio tomorrow if you were free,"
replied Manuel putting out his cigarette. 

"I suppose that would be fine," replied the young man dropping into a
chair.  "This has been a long day for me and I suddenly feel very 
tired." 

"A good nights sleep may be all that you need my friend," said Manuel. 

"Yes, I suppose that you are right Manuel," he replied getting to his
feet.  "I think that after I have a good nights sleep I will feel 
better." 

Pablo crawled into bed and was asleep in a few minutes.  He slept
soundly throughout the night and awoke suddenly to a soft rapping on 
his studio door.  He pushed himself up onto one elbow and swung his 
legs out and onto the floor.  He sat there for a few seconds and then 
peered across the room at a small mantle clock.  It read a little 
before 6 A.M.  He then door.  Opening it he found Odette standing in 
the hallway dressed in a light blouse and skirt and looking refreshed 
as a new day after a summer storm. 

"You did say that you wanted me here at 6 A.M. Pablo did you not said
the young woman?  "I hope that I am not too early." 

"No, not at all my dear," he replied stepping aside to let her pass. "Do
come in.  Manuel and I were just about to put on some coffee." 

She entered the studio and took a seat on the sofa wile Pablo set out
some cups and began to brew a pot of coffee.  Manuel then suddenly 
emerged from the bedroom partially dressed and carrying a shaving mug 
and razor. 

"Oh, I didn't expect to see visitors so early Pablo," he said putting
down his shaving apparel.  "It is nice to see you once more Odette, and 
what do we owe this visit?" 

Page 61 

"I am going to begin painting this morning Manuel," said Pablo pouring
out three steaming cups of coffee.  "So come, cut up some of that fresh 
bread of yours an Manuel sliced the remainder of his bread and put out 
the left over cheese, then began to set the small table.  When he had 
completed all of this he motioned to Pablo and the young woman to join 
him and take a seat. 

"I should have run out and brought some fresher bread," he said pouring
some milk into his coffee.  "Perhaps after we have eaten I will wake 
Max Jacobs and the two of us will do some shopping.  That should give 
you ample time to paint." 

"Thank you Manuel I would appreciate that," said Pablo.  "Odette and I
have a lot to do if I am to be ready for Braque's fall showing.  That 
is the reason I asked her to come so early this morning." 

Manuel got to his feet and snatched his jacket from a hook were it hung
and then made his way to the door leaving the studio.  Pablo and Odette 
then got to their feet and gathered the dirty dishes stacking them in 
the sink. 

"So you say that we have much work to do today Pablo," said Odette
placing the last cup with the oprepared for anything." 

"Good, he replied taking her hand.  "I have been toying with the idea of
having you pose as a young maiden that is descending this staircase." 

"that sounds exciting Pablo," she said smiling.  "I could perhaps be
naked as some damsel that is returning to her bedroom in the middle of 
the night." 

"Yes, that is an excellent suggestion my dear," he said.  "Perhaps you
could get out of your things and I will get you to strike the pose." 

Page 62 

Odette slipped behind a dressing screen and began to remove her cloths
wrapped herself in a large towel that she found hanging on a nearby 
hook.  She emerged from the enclosure a few moments later with the 
towel wrapped tightly around her and made her way to the base of the 
staircase. 

"I am ready Pablo," she said still clutching the towel.  "Now how will
you pose me?" 

"I was thinking that you could stand at the top of the staircase and
imagine yourself as a young maiden that is about to descend and rn your 
hastiness your towel has dropped on the first step and you are rushing 
to your bedroom before you are discovered." 

Odette smiled, then mounted the staircase and dropped her towel as the
young man had just described.  She then took two steps down and struck 
a pose as the young maiden that was charming and yet a trifle naughty. 

"That is perfect," said Pablo rushing over to his easel and grasping a
piece of charcoal.  "If you can just remain in that position that pose 
will be excellent." 

The young man then began to block in the rough shape of Odette in
charcoal which he would make more permanent later with paint and 
varnish.  Pablo worked diligently for the next two hours carefully 
perfecting the drawing and then applying layer upon layer of paint over 
the charcoal outline.  The shape that he had portrayed on his canvas 
did not resemble the young woman in the least but this did not concern 
him for he was occupied only with the mass ohe continued to apply.  He 
finally put down his brush and palate and stepped back from his 
painting. 

"I think that I have done enough for today Odette," he said.  "The light
is beginning to fade and I am growing tired." 

"Yes, I too am growing stiff," replied the young woman.  "How is the
painting coming?" 

Page 63 

"Not too bad," he replied throwing a cloth over his canvas.  "I am happy
with the progress that we have made today." 

"That is good Pablo my dear," she said stepping behind the changing
screen and beginning to dress.  "I suppose that I should leave and let 
you join Manuel and Max Jacobs for dinner." 

"I was thinking of just having something by my self tonight my dear," he
said.  "Why don't you join me and we can catch up to Max and Manuel a 
little later.  I do want to stop in at George Braque's studio for a 
moment though." 

"Yes that would be fine Pablo," she replied.  "Another dinner at a small
sidewalk cafe would be better then that crowded Cafe Au Lapin Ag Pablo 
and Odette arrived at Braque's studio an hour later and found the young 
artist hard at work at yet another painting.  The studio was untidy 
with cigarette buts and crumpled drawing paper littering the floor.  
This did not seem to bother the young artist though as he worked 
diligently away on his painting. 

"Ah Pablo and Odette do come in," he said opening his studio door as he
wiped his hands on a piece of rag.  "I would like your opinion on this 
still life that I have just finished.  I do not know if it is good 
enough for our fall showing." 

As Pablo peered at the painting a noise was heard in the next room and
as the young man turned to investigate an attractive young women 
entered the room.  She was about twenty, with shoulder length blond 
hair, fair skin, and a slim figure.  She carried some drawing pads and 
boxes of charcoal. 

"Pablo,you have met Marcelle Dupree," said Braque taking the young
woman's hand.  "We are engaged and plan to be married shortly after our 
fall showing." 

"The young woman.  "I hope that you and George have many years of
happiness." 

Page 64 

"Thank you Mr. Picasso," she replied.  "I am sure that we shall.  George
is a wonderful man and I am deeply in love with him.  I also plan to 
help him with all his projects." 

With the introductions and pleasantness over Pablo once more focused his
attention on George Braque's newly completed painting.  He peered at it 
for another minute or so and then turned to the young artist who stood 
nervously next to him. 

"I like it George," he said smiling.  "I think that it will be one of
your finest pieces.  I have begun work on a painting of my own and I 
cannot wait until we will be able to display everything for the people 
of Paris to see and enjoy." 

"Yes, I am growing quite excited myself," he replied.  "Marcella and I
have just purchased a fine bottle of wine and I would like to propose a 
toast to our success." 

Braque then opened a small cupboard and wifour glasses.  He opened the
flasket and began to pour it contents out. 

"Here is to a marvelous fall showing," he said raising his glass.  "I
hope that the critics will be kind with what we have done and our 
paintings bring in a good price." 

Everyone drained their glass in a salute and Braque quickly refilled
each goblet emptying his bottle.  He then motioned to Pablo, Odette, 
and Marcella to take a seat on the easy chairs that he had arranged in 
the room. 

"We really must not keep you George," said Pablo sipping his wine.  "We
just dropped by for a moment." 

"That is no problem," said Braque.  "It is always good to see you and I
have done enough work for today.  Marcella and I will be off to the 
theater a little later this evening but we have lots of time." 

Page 65 

"Yes, I suppose that Odette and I should be off for a little early
supper ourselves,"  said Pablo getting to his feet.  "I will look for 
you in a day or so in the Cafe Au Lapin Agile and we will have a dri 
Pablo and Odette shook hands with Braque and his betrothed and left the 
studio .  Once outside the couple made their way up the busy street and 
approached a small sidewalk cafe that lay in their path. 

"Lets stop here and have a little supper Pablo," said Odette coming to a
halt.  "I am hungry and the Cafe Au Lapin Agile is so far off." 

"Yes that is an excellent suggestion my dear," he replied looking over
the establishment.  "I too am famished and would like something to 
eat." 

The couple made their way to a table were Pablo ordered two small bowls
of onion soup and a plate of cold sliced meats.  The young man also 
procured a carafe of wine to wash everything down with and two sweet 
pastries for desert.  When the last morsel of food was consumed the 
young man sat back in his chair and lit a cigarette. 

"What did you think of Braque's fiance Odette," he said blowing smoke
into the air? 

"She seems very nice," replied the young woman still sipping her wine.
"And she appea "Yes, she is that," he said.  "Stopping here was such a 
good choice my dear, but what shall we do for the remainder of the 
evening? 

"The river is not  too far," she replied draining her glass.  "We could
continue our walk that was cut short last night." 

"Yes, I think a little exercise will do us both good," said Pablo
putting out his 

Page 66 

cigarette and getting to his feet.  "Are you ready to go?" 

The young man left a couple of francs to pay for the meal and then took
Odette's hand and led her out of the cafe and back onto the street. The 
sun was completely down by now and the odd star began to twinkle in the 
evening sky.  As the young woman had pointed out the river was not far 
and in five minutes they had climbed onto its bank and looked out over 
its quiet water at the twinkling lights of Paris. 

"This is nice Pablo," said Odette clasping the young man arm as she
peered over the river.  "Being out here with you is so much nicer then 
sitting in some smoky cafe." "Yes, this is going to be a gorgeous 
evening," he said slipping his arm around her shoulders.  "Perhaps we 
could sit and rest for a wile and continue to look at the city." 

"There is a clearing just ahead," she said.  "It looks quite secluded
and we would be free from prying eyes." 

The open space of which Odette spoke was indeed withdrawn and almost
completely surrounded by tall grass.  It was enclosed on all sides but 
one that looked out over the water.  The couple quickly made their way 
to this location and seated themselves on a large flat rock that 
enabled them to look out over the river. 

"This is much better Pablo," said Odette peering out over the river as
the moon began to slowly rise.  "The night air smells so fresh and look 
at all those gorgeous stars." 

"Yes, it makes you thankful that you are alive," he said slipping his
arm around the young woman's waist.  "Coming out here this evening was 
a wonderful idea." 

He reached over and tenderly kissed her feeling the passion build as she
slowly slid off the 

Page 67 

smooth stone were they were perched and lay on a small patch of grass
and moss that lay around it. 

"Oh Pablo I do love you so," said the young woman as another wave of
passion swept over her.  "I realize that i am merely someone who poses 
for you wile you paint your many pictures but in the last few days I 
have become very attracted to you." 

"Yes, I have been drawn to you also my dear," he replied as he slowly
began to undo the buttons of her blouse.  "You are the sweetest most 
loving woman that I have ever met and tonight I shall prove to you how 
greatly I care." 

What ensued was yet another long period of lovemaking and passion the
likes of which both Pablo and Odette had never seen.  When it was all 
over the young man and woman lay in each others arms exhausted but 
happy. 

"Oh Pablo that was wonderful," said Odette laying back on the soft grass
for a moment.  "I have never experienced anything so int "Yes, I too 
must say that was good," he replied pushing himself up into a sitting 
position and lighting a cigarette.  "You are the sweetest most loving 
woman in all France.  But unfortunately it grows late and we have much 
work to do tomorrow so I suggest that we call it a night and allow 
ourselves to get some much needed rest." 

"You are right my love," she said getting to her feet.  "But I can
assure you my dear tonight my dreams will be of you." 

It was well past midnight when Pablo returned to the Bateau Louvre.  He
had walked Odette slowly back to her rooming house and then spent the 
next half hour saying good night.  He opened the front door and made 
his way down the hallway to his studio when he was approached by Max 
Jacobs who was also returning home. 

"Ah Pablo," he said stepping up to the young man.  "We missed you once
more at the Cafe Au Lapin Agile this evening.  Your associate George 
Braque was telling 

Page 68 

everyone how impressed you were with his most recent painting." 

dio this afternoon and he had just completed it.  It is really quite
striking and I think that it will be a wonderful addition to our fall 
showing." 

"I see, Manuel was also telling us that you have begun to paint," said
Jacobs.  "How is your work coming along?" 

"It is progressing quite nicely," replied Pablo.  "I have instructed
Odette to come over early tomorrow for we still have a lot of work to 
do." 

"Well then perhaps I should not keep you," he replied.  "I shall drop by
later in the day and see how you are doing." 

The next day Odette did indeed arrive early.  The morning sun was just
beginning to brighten the evening sky when the young man heard her soft 
knock on his studio door.  He had already been up for a short time and 
had brewed a pot of strong coffee and was in the process of laying out 
his brushes. 

"Ah Odette my dear do come in," he said stepping aside and letting the
young woman pass.  "I have some fresh coffee brewed anthat there is 
still some bread left in the cupboard." 

"That sounds wonderful Pablo my love," she replied kissing him.  "I had
the most wonderful dream about you last night." 

"Did you really," he said breaking the embrace, turning, and then
beginning to put out the cups and half loaf of bread.  "You must tell 
me all about it as we have our coffee." 

For the next half hour the young couple sat and enjoyed the modest
breakfast. 

Page 69 

They chattered leisurely about Odette's dream and Pablo reminded her
that the bedroom was no place for her to be having thoughts of him. 
When the coffee and bread were finally consumed and the dishes cleared 
away the young man suggested that they begin to work. 

"I really would like to get my painting completed today," he said as the
young woman slipped behind the changing screen to undress.  "I think 
that I should have ample time to paint if I am not bothered by needless 
interruptions." 

When Odette had undressed Pablo positioned her exactly as she was
Suddenly Manuel emerged from the bedroom and poured himself a cup of 
coffee.  He lit a cigarette and stood smoking and sipping the steaming 
hot liquid as he watched his young friend work. 

"Your painting is really starting to progress Pablo," he said.  "Max has
asked me to accompany him to the market this morning and it is such a 
fine day that I could not refuse him.  This will leave the studio quiet 
for you to work uninterrupted." 

"I would appreciate that Manuel," he said looking up.  "Perhaps you will
find something interesting to buy." 

Pablo continued to paint throughout the rest of the morning and into the
early afternoon.  The clock on the mantle had just struck twelve thirty 
when footsteps were heard in the hallway outside the studio and the 
latch on the door suddenly opened.  In the doorway stood Manuel 
accompanied by Max Jacobs and both men carried a large array of 
parcels. 

"Come and see what I have bought Pablo," said Manueo the studio.  "Max
has given me a tour of the most fascinating shops." 

The young man put down his brush and wiped his hands on a rag that hung
nearby then turned to view these newly acquired articles.  Odette too 
stepped down from her perch and after throwing a robe over her bare 
shoulders joined the three young men. 

Page 70 

"Max took me to the most fascinating little shop that was selling a host
of oddities," he said putting down his parcels.  "I was able to find 
some really fine bread and cheese and I also acquired this little 
sculpture for only one franc." 

The young man withdrew a small jade sculpture from some wrapping paper
and handed it to his friend.  It was an expertly crafted sculpture of a 
young boy that was possibly Chinese in origin. 

"This is a nice piece of art work Manuel," said Pablo looking over the
statue.  "It may be Chinese in origin no the workmanship is astounding. 
Max you must show me were this shop is for I would love to pay them a 
visit." 

"That is no prm here and when you are free I would be happy to show you
were it is." 

"As Max Jacobs spoke he looked over the now almost completed painting
that Pablo had been working on.  The shape that was displayed on the 
canvas did not  resemble the young girl in any way shape or form for 
the entire picture was a mass of grotesque color. 

"Your painting looks interesting Pablo," said Jacobs continuing to peer
at the canvas as he leaned on his walking stick.  "I only hope that the 
art critics will understand it.  They are not too receptive to any new 
ideas." 

"Yes, that may be true," said Pablo.  "But I think that the art world is
ready for this new style called Cubism and George Braque and I are here 
to introduce it." 

"Ah yes, I almost forgot Pablo," said Manuel.  "George Braque was
looking for you last night in the Cafe Au Lapin Agile.  Apparently 
Daniel Henry Kahaweiler the gallery owner wants to discuss this fall 
showing that you are planning. 

"That is no prob hard today and a nice bowl of onion soup would be very
nice for dinner. Perhaps I will see him later this evening and see what 
is on his mind. Why don't you also join us Max we would enjoy 

Page 71 

"Yes, I would like that," he replied.  "Perhaps I shall learn more of
this new art style called Cubism." 

It was a little after eight o' clock when Pablo and Odette accompanied
by Manuel and Max Jacobs entered the Cafe Au Lapin Agile and were shown 
to a table.  They ordered and consumed four large bowls of onion soup 
and when this was done sat back in their chairs to relax. 

"There are two gentlemen at the bar waiting to see you Mr. Picasso,"
said the waiter as he brought another carafe of wine to the table. 
"Should I ask them to join you?" 

"Yes by all means," replied the young man.  "I wonder what is on
Kahnweiler's mind." 

A few minutes later George Braque and David Henry Kahnweiler were
escorted to the table and introduced to everyone.  Two more glaswere 
brought and more wine poured out. 

"I understand that you wanted to see me," said Pablo to the gallery
owner.  "I hope that there is no problem with our fall showing." 

"No, no, not in the least," he replied.  "I was only wondering how your
work was progressing.  Mr. Braque tells me that this is rather a large 
painting that you are planning to exhibit.  Will it be finished in 
time?" 

"Why yes," said Pablo.  "It is almost done now and I think that you will
find it exciting." 

"Good," he said.  "I plan to start a poster campaign next week
advertising the showing throughout Paris.  This should be picked up by 
all the newspapers and art critics." 

Page 72 

"I will look for the posters," said Pablo sipping his wine.  "Who is
doing the artwork for them?" 

"Right now I don't have anyone specific in mind," he replied.  "Do any
of you have any suggestions?" 

"Yes, I understand that there is a young artist by the name of Toulouse
Lautrec that is very good at this type of art work," said Max Jac; 

"Yes, I have heard of Mr. Lautrec," replied the gallery owner.  "I shall
talk to him and possibly arrange a deal." 

"You will most likely find him in the Moulin Rouge," said Jacobs.  "He
spends most of his time there sketching the dancers and drinking brandy 
and whiskey." 

"Interesting," said Pablo.  "Do you know anything more of his background
Max?" 

"I have heard that he has come to Paris from the south of France," he
replied.  "Lautrec is from an aristocratic family he father being the 
Count Alphonse.  He has also had some strange disease that has left his 
legs deformed.  They say that he was afflicted when he was a young boy 
and his legs did not grow properly.  The poor man is only about four 
feet tall.  You should find him in the company of a dancer by the name 
of Louise Weber sometimes called "La Gaulue." 

"Yes, I have heard of her also," said the gallery owner.  "She has the
reputation of being able to out drink anyone in the baperhaps when your 
painting is completed you would accompany me to the Moulin Rouge." 

"Yes i would like to," said the young man.  "I will have it finished
tomorrow and Odette and I will drop the canvas off at your gallery in 
the afternoon." 

Page 73 

The next day Pablo put the finishing touches on his painting and then
stood back to look at the completed canvas.  The picture had taken on 
an eerie character the colors blending together in a collage of 
brilliance. 

"I think that it is finished," said the young man putting down his brush
and wiping his hands.  "Odette come and see what you think of it." 

Odette stepped down from the staircase and slipped on her robe.  She
then took a few steps over to were Pablo stood and peered at the canvas 
for a few minutes. 

"It certainly is unusual Pablo," she said finally looking up.  "But it
does not look like me my love.  The colors are all wrong and the form 
is mishaped." 

"That is exactly what us Cubists are planning to do in our paintings mys
Cubistic art form fascinates me so.  It completely breaks away from 
anything that these so called modern artists are doing today." 

Pablo had just finished speaking when a knock was heard on the studio
door.  The young man opened it to find Max Jacobs standing in the 
doorway elegantly dressed as always leaning on his walking stick. 

"I thought that i would drop by and see how your painting was coming
Pablo," he said.  "I thought that i could have a quick look at it 
before you took it to Kahnweiler's gallery." 

"You are in luck my friend for I have just finished it," said the young
man.  "Come in and tell me what you think." 

Jacobs entered the studio and made his way to the easel were Pablo's
painting lay.  He stood and looked at the canvas for three long minutes 
without saying a word. 

Page 74 

"I like it," he finally said turning to face the young man.  "I have
never seen anything like this before, I can almost feel the passion in 
"Yes, that was one of the things that I was trying to achieve," said 
Pablo.  "Do you think that it will be excepted by the Paris art 
critics?" 

"Now that is an entirely different question my friend," he replied.  "I
do not know if the art critics are ready for such a radical change that 
your painting displays." 

"Yes, well I should not worry too much about art critics," said Pablo.
"They have been criticizing my work all my life.  If anything this fall 
showing that Braque and I are engaged in should prove interesting." 

"Are you off to deliver your painting this afternoon Pablo," said
Jacobs? 

"Yes," replied the young man.  "I was wondering if you would like to
join us?  Have you ever met this fellow Lautrec?" 

"Yes I have," he replied.  "Ambrose Vollard was showing a few of his
posters in his gallery and he introduced me to him and Louise Weber  a 
young dancer that he had been sketching.  He seemed to be a pleasant 
enough chap." 

About an hour later Pablo droppeowner joined Pablo, Odette, and Max
Jacobs as they made their way further up the hills of Momartre towards 
the Moulin Rouge. 

"So this is the Moulin Rouge," said Pablo as he gazed at the large red
painted wooden building with its impressive sails slowly turning in the 
late afternoon sunshine.  "I have heard so much about this place." 

Page 75 

"Yes, did you know that the Moulin Rouge was opened in October of 1899
Pablo," said the gallery owner.  "Since then it has become the joie de 
vive in Paris." 

They made their way towards its entrance and through a small wooden
door.  The sound of music could be heard over the shouts of the patrons 
of the small dance hall.  Although it was late afternoon half a dozen 
scantily clad young women danced on a large stage to the enjoyment to 
everyone. 

"Would you know if Mr. Lautrec is about," said Kahneweiler to one of the
waiters? 

"Yes, he is in his usual corner," replied the young man pointing to the
far end of the dance hall. They found Lautrec seated at a small table 
enjoying a glass of brandy. Across from him sat an attractive young 
woman about twenty five years of age who was also sipping brandy.  The 
couple were engrossed in a muffled conversation and paying no attention 
to the activity around them. 

"Ah, Mr. Lautrec," said the gallery owner.  "I would like to speak to
you about a few posters I would like you to draw for me." 

"A paying customer," he replied putting down his brandy.  "I would be
honored to do some work for you sir." 

"Good," he replied.  "I require a dozen posters to advertise the exhibit
of Cubism that I am hosting for George Braque and Pablo Picasso in a 
week or so." 

"Yes, I have heard of this art form," he rdo the entire job for five
francs." 

Page 76 

A few days later the posters were completed and hung throughout the
shops and cafe's of Momartre.  On November 16, 1908 Daniel Henry 
Kahweiler's first showing of Cubism opened to the public in his gallery 
on the rue Vignon.  On the first day of the exhibit a small group of 
people attended most of them art critics.  The reviewers were 
representing local papers and had come to see this new art form called 
Cubism.  They strolled past he various paintings making hasty notes 
which would later be transcribed into articles.  Ambrose Vollard, 
Gertrude Stein, and even Paul Gaugane dropped by and were impressed 
with the work although Vollard could not understand it.  After the 
first week articles began to appear in the various local papers and the 
praise that it showered about the exhibit enabled the gallery owner to 
extend the showing to a full eight weeks.  This was the first of many 
that would be held in this modest gallery and soon Cubism began 
tospread throughout France and the world. 

The old woman settled back into her chair and closed her eyes for a
moment.  Spencer stood and turned off his tape recorder then lit a 
cigarette." 

"An interesting story," he said once more taking his seat.  "But do you
think that it is really true?" 

"My grandmother is not in the habit of telling tall tales sir," said Mr.
Vollard.  "She has not been as physically active as he was five years 
ago and sometimes she forgets a few things but her mind is still 
sharpfor a moment and took her back to another time in her life." 

"Yes I know," said Spencer knocking an ash from his cigarette.  "But do
you honestly believe that she was the lover of Pablo Picasso and 
modeled for his first Cubistic painting?" 

"Picasso was one of the most renowned artists of the twentieth century,"
said Vollard.  "Throughout his life he had many woman and I believe 
that my grandmother may have been one of his first." 

The End    send all comments to ronk@axion.net


Tweet