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“... Françoise​ Gilot wasn’t impressed when she first saw Guernica, aged 15, at the 1937 World’s Fair in Paris. She appreciated the painting as a political act, but ‘was not so crazy, aesthetically or technically, about Picasso’. Six years later, she spotted him across the tables of Le Catalan, a restaurant on the Left Bank, and was equally underwhelmed ...”

“... at the etching again. ‘It’s hard to say whether he wants to wake her or kill her,’ he said. Françoise Gilot and Carlton Lake: Life with Picasso The Sleeping Gypsy I was the gypsy sleeping under a desert moon white-bellied as the mandolin beside me on the dune. The wind that stirred my rainbow dress was no wind but the breath of some beast ...”

“... Louis Aragon, Paul Eluard and Laurent Casanova. The influence of these men is recorded by Françoise Gilot, with whose testimony Huffington is very familiar: but this version is not discreditable enough to Picasso for her liking, nor as congenial to the view of Communists as indistinguishable from Nazis so much in vogue with today’s right-wing ...”

“... days. Cubism was a deeply serious reinvention of how and what we see; it was, as Picasso told Françoise Gilot, ‘a kind of laboratory experiment from which every pretension or individual vanity was excluded’; it was an eventually unsuccessful search for what Braque called ‘the anonymous personality’, whereby the painting would stand by and ...”

“... of the Modern was being worked out that would exclude him. He was Picasso’s ‘pet aversion’; Françoise Gilot records some of the things Picasso said: ‘That’s not painting, what he does. He never goes beyond his own sensibility. He doesn’t know how to choose. When Bonnard paints a sky he first paints it blue, more or less the way it ...”

“... or his words to the catalogue. He then told Picasso that he had seen Penrose with the detested Françoise Gilot, at the opening of the Maeght Foundation in St-Paul-de-Vence, which coincided with the publication of the memoir she wrote of her time with Picasso. In fact, Penrose was not with Françoise, but Joanna ...”

“... incomparable Rembrandts. (It is fitting that a wall label in the show quotes Picasso saying to Françoise Gilot: ‘Every painter takes himself for Rembrandt … Everybody has the same delusions.’) And then in among the femmes toreros and arenas with wounded bull-men – most of these subjects not Picasso at his best – the viewer comes across a ...”

“... But machismo as it is described here is not special to Andalusia. Picasso’s suggestion that Françoise Gilot should cover her face so that other men couldn’t ‘have’ her with their eyes is cited by Richardson as quintessentially Andalusian. Yet such an attitude is unremarkable in Latin countries, in both the Mediterranean and South ...”

“... tends to be fairly narrow: the swooning raptures of Marie Thérèse, Dora Maar as Tragic Muse, Françoise Gilot, pastoral deity. The relationship with Jacqueline is wider and richer and more human, especially in its exchanges of vulnerability. For instance, in the time of his impotence he has to humiliate her in his art as he had no one else, and ...”

“... he obviously loved to be photographed, he was not in the least concerned with his own image. Françoise Gilot said she couldn’t go on living with a monument, but that may have been sour grapes. No doubt he was passionately concerned with himself, but he was even more concerned with the things he made. And not with those he had made, but with ...”

“... his aunts. This childish fascination by elephantine proportions impresses him still.And this, from Françoise Gilot: When I was a child, says Picasso, I often had a dream that used to frighten me greatly. I dreamed that my legs and arms grew to an enormous size and then shrunk back just as much in the other direction. And all around me, in my dream, I saw ...”