PICASSO BEHIND THE MASQUE
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It is highly interesting to note that Pablo Picasso (1881 – 1973), the leading anti-fascist artist did not flee to England or move to Vichy but settled down in German-occupied Paris. There, the artist was able to work unmolested and he ignored both the Gaullist and the Communist resistance movement.
The French Resistance is much over-hyped by palace publishers and shekel-chasing journalists. Less than 1% of the French population supported the coalition of Communist-backed anti-Fascists. Pablo Picasso was not among the 1 percent.
The Spanish artist maintained a cordial relationship with the German occupiers. Throughout the occupation, he did not associate with the Communist front but saw advantages to doing so immediately before the American occupation of France in August 1944.
Maxime Laguerre, a French historian, published: Our Society at the Abyss; the Errors of Progress and the Consequences. This book appeared in Germany when published by the Hohenrain Publishing House under the German title: `Unsere Gesellschaft am Abgrund, Irrewege des Fortschritts und seine Folgen.´
The English language translation carries the gifted artist’s honest admission who conceded that he was filled with contempt for charlatans who debased art and the fools who admired such nonsense.
This devastating put-down was published in Impact Magazine, South Africa in 2001. The Spanish artist lamented, “When art ceases to be the soul-nourishment of the best minds, the artist is permitted to exploit his best talents by employing all the tricks of the intellectual charlatan.
Most people today can expect neither comfort nor upliftment from art. The ‘spiritualised’, the wealthy, the professional loafers crave only that which is devious, sensational, twisted and scandalous in modern art.
I myself have fed the people what they desired and I presented the critics with the most ridiculous thoughts that entered my and that is why I am rich. The less they understood, the greater was their admiration.
And as I played this game with them I became famous, and very rapidly indeed. For the painter, fame means he can sell his works and become prosperous. That is why I was feted.
Privately, however, I do not consider myself as an artist. I am just a common clown, a mountebank. I understood the times I lived in and I merely exploited the stupidity and vanity of my contemporaries.”
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