by Sue Roe
‘you think you are witty …’: ibid., p. 143
‘like a pauper …’: ibid.
‘pimps … clowns, acrobats …’: ibid., p. 145
‘like characters from a Carco novel’: Olivier, Picasso and His Friends, p. 172
‘Strange, disturbing figures …’: ibid., p. 171
‘hymn the man at the wheel’: F.T. Marinetti, ‘The Founding and Manifesto of Futurism, 1909’, in Umbro Apollonio (ed.), Futurist Manifestos, p. 21
‘No work without an aggressive character …’: ibid.
‘We will destroy the museums …’: ibid., p. 22
‘the renovation of painting’: ibid., p. 27
‘ the dynamic sensation itself’: ibid.
‘persistent symbols of universal vibration’: ibid., p. 28
‘put the spectator in the centre …’: ibid.
‘If one plane wasn’t enough …’: Alex Danchev, Georges Braque: A Life, p. 69
‘And we judged everything like that …’: Hélène Parmelin, Picasso Says …, p. 39
‘eternal and futile worship of the past’: Marinetti, ‘The Founding and Manifesto of Futurism, 1909’, in Apollonio (ed.), Futurist Manifestos, p. 23
‘ can be nothing but violence …’: ibid.
‘Bakst’s emphasis on bold, bright … ’: Shari Greenberg, ‘Léon Bakst and Scheherazade’, in Mariinsky Ballet, 50th Anniversary Season (London: Royal Opera House, 25 July–13 August, 2011), p. 25
‘Painting should inspire like this …’: Georges Hilaire, Derain, p. 23
‘a roaring car …’: Marinetti, ‘The Founding and Manifesto of Futurism, 1909’, in Apollonio (ed.), Futurist Manifestos, p. 21
‘looked as though they had just escaped …’: Gold and Fizdale, Misia, p. 140
‘the southern regions of Europe …’: Noel Alexandre, The Unknown Modigliani: Drawings from the Collection of Paul Alexandre, p. 99
‘We can report …’: ibid.
‘Carissimo …’: ibid.
‘At the summit of the Butte Montmartre …’: ibid.
‘Choose what is suitable, Madame … a state of mind …’: White, Poiret, p. 41
‘modern men trying to find a pictorial language …’: Roger Fry, ‘The French Post-Impressionists’ (1912), in Roger Fry, Vision and Design, p. 167
‘The difficulty [in the paintings’ reception] springs …’: ibid.
‘The painter aims to construct not an anecdote … Braque, in Jeanine Warnod, Washboat Days: Montmartre, Picasso and the Artists’ Revolution, p. 140
‘a purely abstract language …’: Roger Fry, Vision and Design, p. 167.
‘by the continuity and flow …’: ibid., p. 168
‘here attempting to do something quite different’: ibid.
‘the great originator …’: ibid.
‘And that … twentieth century’: Gertrude Stein, Paris France, p. 17
‘their tradition kept them from changing …’: ibid.
‘finally broke loose …’: Lawrence Gowing, Matisse, p. 111
‘they have the advantage of being animated by touch’: Richardson, A Life of Picasso, Volume II, p. 150
‘closer to Havana than to Madrid’: ibid., p. 154
‘We are paying a hundred francs …’: ibid., p. 156
‘stranded in little heaps …’: ibid., p. 157
‘navicular structure …’: ibid.
‘doubled power of our sight’: Umberto Boccioni, Carlo Carra, Luigi Russolo, Giacomo Balla, Gino Severini, ‘Futurist Paintings: Technical Manifesto, 1910’, in Apollonio (ed.), Futurist Manifestos, p. 28
‘swallowed safety pins …’: Richardson, A Life of Picasso, Volume II, p. 158
‘And difficult!’…: ibid., p. 164
‘communion of souls’: ibid.
‘Rich and poor, young and old …’: ibid.
‘At the risk of offending the Pichots …’: ibid., p. 165
‘lyricism of the banlieusard’: Hilaire, Derain, p. 53 (quoting Jean Cassou: ‘cet élan de lyricisme banlieusard’)
‘What was wrong in our attitude …’: André Derain, in Denys Sutton, André Derain, p. 21
‘Where there is temperament …’: ibid.
‘esthétisme hasardeux’: Hilaire, Derain, p. 53
‘Un tableau ne commence pas …’: ibid., p. 117
‘façon directe de sentir des choses’: ibid., p. 36
‘Mais la Peinture, c’est autre chose’: Maurice Genevoix, Vlaminck, p. 19
‘the classicism of cubism [opposing] the romanticism of the Fauves’: Jean Cocteau, The Journals of Jean Cocteau, p. 48
‘If you can’t paint the entire person … to one side’: Francis Carco, Promenades pittoresques à Montmartre, p. 14
‘He was painting from his wife’: Cocteau, The Journals of Jean Cocteau, p. 49
‘From the moment that someone else could do the same thing …’: Georges Braque, quoted in Warnod, Washboat Days, p. 140
‘I realized that a painter could not make himself known …’: ibid.
‘the youngest of the cubists’: Stein, The Autobiography of Alice B. Toklas, p. 121
‘How he drifted in …’: ibid.
‘as one would join a religious faith’: Warnod, Washboat Days, p. 169
‘reducing the architecture’: ibid.
‘visiting Poles …’: Richardson, A Life of Picasso, Volume II, pp. 179–80
‘primitive, diabolical, barbaric …’: Spurling, Matisse, p. 199
‘We have been to the Salon d’Automne …’: Maurice Sembat, quoted in Warnod, Washboat Days, p. 143
‘probably remaining’: Toklas, What is Remembered, p. 61
‘And with that I moved …’: ibid., p. 62
‘an intimate friend of two …’: ibid., p. 63
‘infant prodigies of the social world’: ibid.
‘considered herself a Greek scholar …’: ibid.
‘ghostly pallor and elegant, etiolated figures’: Spurling, Matisse, p. 204
‘a miracle of suppleness and rhythm’: ibid., p. 208
‘monstrous images’: ibid., p. 213
‘frightful Spanish Woman …’: ibid.
‘very joyously …’: Parmelin, Picasso Says …, p. 96
‘Each of us had to see …’: Danchev, Georges Braque, p. 111
‘bumped into’: Richardson, A Life of Picasso, Volume II, p. 186
acquisition … of eleven works by Matisse: Jean-Paul Crespelle, La Vie quotidienne à Montmartre au temps de Picasso, 1900–1910, pp. 123–4
‘a little French Evelyn Thaw …’: Stein, The Autobiography of Alice B. Toklas, p. 122
‘Is Picasso leaving Fernande …?’: Toklas, What is Remembered, p. 66
‘ma jolie’ … ‘Fernande is certainly not …’: Stein, The Autobiography of Alice B. Toklas, p. 122
‘the true source … of all creative search’: Spurling, Matisse, p. 234
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