Search Results

“... John Richardson is one of those gossips who knows – or at least knows about – everyone. For example (on page 118, to be precise), Marie-Laure (1), Maurice Bischoffsheim (2), the Comtesse de Chevigné (3), the Duchesse de Guermantes (4), the Marquis de Sade (5), Jean Cocteau (6), the Vicomte de Noailles (7), an anonymous gym instructor (8), Igor Markevitch (9), Diaghilev (10), Nijinsky (11), Maurice Gendron (12): I was the daughter of 2, an immensely rich Belgian banker, and the granddaughter of 3, who was said to be the model for 4, and was also – would you believe it? – the great-great-granddaughter of 5 ...”

“... that at every turn the narrative seems to play itself out before our eyes, the first volume of John Richardson’s long-awaited Life of Picasso will leave its readers waiting impatiently for Volume Two. Long may it go on. Meanwhile it is a special kind of pleasure to be able to praise the book of an old and close friend, and be confident that the ...”

“... in September by the Waywiser Press. In his obituary of Wollheim in the Independent last November, John Richardson wrote that Germs – which Wollheim thought ‘the best piece of work’ he had ‘ever done’ – ‘must not be allowed to become a chef d’oeuvre inconnu’. Now it will not, though Waywiser is a very small publisher without the ...”

“... encounter with the Demoiselles because the painting figures so prominently in the second volume of John Richardson’s magisterial Life of Picasso, whose first chapter, and part of the second, are devoted to its genesis, sources, formal innovations and iconography, and the ways in which Picasso’s experiences at the time he was painting it affected its ...”

“... The justification for this survey of a single year is made in a nod to Picasso’s biographer, John Richardson, who described 1931-32 as his annus mirabilis. It was a hugely productive year, in part because of the new work Picasso was creating for the retrospective, in part, it’s claimed, because of his relationship with the 22-year-old ...”

“... since before the First World War. The epithet ‘triumphant’ in the title of the new volume of John Richardson’s magnum opus has a brash, swaggering ring: fittingly so. This is the tale of an extremely rich and famous man who came pretty near to doing whatever he wanted. The Picasso of the 1920s was physically strong and socially supple: he could ...”

“... Picasso the more. One of the great undocumented exchanges – perhaps we shall learn more when John Richardson reaches the war years – came when Picasso spent a week in 1944 trying to persuade Braque to join the Communist Party. Braque denied him, as he also denied a second approach from none other than Simone Signoret (I feel a three-hander play ...”

“... this fate, and few may know that the familiar expression has a nautical origin. According to Sir John Richardson, as quoted in the OED, it happens thus: ‘when through a shift of wind or bad steerage, the wind comes in front of the square sails and lays them back against the masts, instantly staying the inward course and giving her stern way, an ...”

“... that Picasso, towards the end of his life, became addicted to all-in wrestling on the telly – as John Richardson informs us in the sympathetic account of those years (and brave attempt to defend Picasso’s late work) which appeared in the New York Review of Books on 19 July 1984. However private these sketchbooks were, they reveal, more and more as we ...”

“... Especially striking is her portrait of Christian (‘Bébé’) Bérard as a jovial latter-day John the Baptist, his head neatly suspended at the edge of a round pool as though on a tray. There are also distinctive fashion photographs, like the one of a model in a bathing-suit superimposed on a pattern of sun-dappled water; or another of a tiny sailing ...”

“... and far better written account of Picasso’s life with her will be found in the essay by John Richardson reprinted in the catalogue of the Tate Gallery’s Late Picasso exhibition. It must be said, however, that an impartial view is hardly possible if one is dependent, as all serious Picasso scholars are, on the good will of one or another ...”

“... Years later, when much cream had been spread and rouge faded and money spent, figures such as John Richardson, Graham Sutherland and Bruce Chatwin would have dealings with Helena Rubinstein. Rubinstein trusted Richardson, in as much as she trusted anyone, because he told her that certain paintings in her vast art ...”

“... Byzantine frontality, is to be characterised by a phrase, I would single out a remark made by John Cage as he went round the exhibition, that he was struck by ‘the absence of tranquillity in a centred composition’. The late paintings seem to me to be divisible into three phases of unequal length – a head, a body and a short tail. The first phase ...”

“... Arms. (The reproduction ‘made such an impression on me and so many others of my generation’, John Richardson later wrote.) The painting was shown in a Mayfair gallery, where it was bought by Michael Sadler, whose collection included work by Kandinsky, Rouault and Modigliani. Bacon’s next ambitious work was called Wound for a Crucifixion. ...”

“... Samuel Richardson’s account of a servant girl’s defence of her virtue against the advances of her lascivious master (‘Mr B’), given in her own letters, made what we now call ‘the Novel’ (though Richardson never attached this label to his book) respectable. Pamela caused an unprecedented stir, exciting something like a national argument about the purposes and value of fiction ...”