A feast in Paris

A feast in ParisA feast in ParisA feast in ParisA feast in ParisA feast in Paris

At the request of Georges Charensol, Ferrat wrote a preface to Fernand Olivier's memoirs (the French Courier published only a few fragments of which it considered unmarketable). When Picasso learned that the book was about to be published, he tried to intervene directly at Stoke Publishing House to prevent its publication, and he offered to pay all the costs of publishing the book. However, his intervention only delayed the publication of the book. Fernand Olivier's book was finally published in 1933. After another twenty years, Fernand Olivier, in increasingly difficult circumstances, wrote her second book. Madame Braque told Picasso the news. Whether for the purpose of delaying publication or to show his generosity to his former lover, the painter sent her a large sum of money (during the German occupation of France, he also generously helped Hans Halton, a French painter of German origin, to go to Spain). As a result, the work languished in Fernand Olivier's wardrobe for 30 years. I. Anarchists on Montmartre Hill (II) Cubism In our human eyes, nature has breadth and depth. Paul Cezanne Marie Laurencin is gone. Fernand is gone. Max Jacob, after tasting another life in the bedroom of Cecil and another woman, has no passion for a cousin. On the Feast of the Assumption in 1912, Max was watching the ceremonial procession in Quimper when someone called to him. He looked back and saw that it was a cousin and two cousins, one of whom was named Eva. Max led them towards the episcopal palace. In the courtyard of the Bishop's Palace, they saw a mulberry tree. The cousins encouraged Max to climb up the tree trunk. He did go up, and Eva was won over by the man who was both a poet and a sportsman. His brave deed won him Eva's lips, and he kissed her. He prided himself on "being able to make Eva happy.". In the midst of one success after another, he felt that he preferred the mulberry tree, and he rejected the whims of the girls and returned to his usual love. He is still in Picasso's gang, but his territory is getting smaller and smaller, for many reasons. First of all, he was addicted to ether. After the German painter Vigels committed suicide, Picasso stopped taking any drugs, and he could not tolerate his friend Max Jacob's lack of determination and decisiveness in this regard. His antipathy became increasingly unbridled, and as time went on, their friendship grew cold. Max makes excuses for his hobby. He said he had a toothache and inhaled ether to relieve the pain. He sometimes went to his parents' home, and when they saw him treating his toothache like this, Grey Marble Slab ,Stone Honeycomb Panel, they worried that he was getting deeper and deeper on the road of drug abuse. They made him go to the dentist they had chosen for him. Max hates dentists because he doesn't have any toothache. For some time, he also planned to stop his drug use. Maybe he stopped in Brittany, but he never stopped in Montmartre. The second reason is that he is morbidly sensitive and often regards trivial things as devastating earthquakes. The same goes for Picasso and Apollinaire. Apollinaire was sometimes cold to him, and the two of them sometimes argued in front of the painter Picasso. Max Jacob often complained that his two friends only laughed at him and never took his literary work seriously; Picasso made money by writing, Apollinaire won honors, and he, Max, was still a nobody. This deepened his natural extreme feelings. The letter written by Max Jacob is as childish as that of Rousseau, a customs clerk. In his letter, he accused Apollinaire of saying that they had an eternal friendship, but often avoided him, did not go to Montmartre to say hello to him, never invited him to the activities they organized, and when he invited him to his home, he often did not attend.. In the end, the poet (Max Jacob) weeps and denounces the nouveau riche Picasso: ungrateful, having forgotten his old friends who shared his hardships since Wallard bought his paintings. Unfortunately, it was he himself who strained the relationship: shortly after the Laundry Boat organized a celebration for Rousseau, he sold several of Picasso's paintings. The reason for this is that he is too poor (which is true), while others have been completely lifted out of poverty. Whenever Picasso heard his old friends in difficult times talking about their hungry and naked lives and their mutual friendship, he was very disgusted. Max Jacob was always at odds with the others. In 1911 he published his "Unpublished Collection of Celtic Songs" at his own expense. A few years later, he frankly admitted to Tristan Chara that his starting point for writing that work was to satirize Paul Foer, Francis Yam and what he considered to be "grotesque" popular literature. This seems to further confirm Andre Salmon's judgment that Max Jacob pretended to like this literature in order to curry favor with Apollinaire. He sells himself to make a living. Mr salmon saw the act of creating for nfda4 as "begging in a new guise", and Picasso may have had the same view. After everyone else had moved to bigger and more luxurious homes, Max Jacob remained in his shack on the Rue de la Vergnon. Indeed, Picasso sometimes invited him to Celette, but he could not afford it. The painter wrote to Carnville, asking him to give his poet friend some money to buy train tickets and flowers. Fortunately, in the Pyrenees, the two of them had a good relationship. In Montmartre, Max, while fully supporting Fernand, also forged a deep friendship with Picasso's maid Emma. He admired her innocence and her devotion to her master, Picasso,white marble mosaic, and his household. They went to a bullfight in Spain together. In a letter to Apollinaire on May 2, 1913, Max Jacob said that "Spain is an angular quadrilateral country". Gertrude Stein later developed this idea by saying that Spain was a three-dimensional country. forustone.com


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