Furthermore there seems to be a connexion between this historical ambiguity and the nature and scale of his success. The popular myth of Picasso, supported by the evidence of his friends, is not in fact such a gross distortion of the truth as seen by Picasso. Picasso’s own Romantic belief in genius as a state of being lends itself to the myth. The working attitude of any of his great contemporaries, their temperamental treatment of themselves, would never have fed the myth with enough material. But with Picasso’s example it is only a few steps from genius as a state of being to the divinity of the demi-god.
I don’t want to suggest that Picasso’s legendary character is simply the result of his own opinions about what it means to be an artist. He has an extremely powerful personality which provokes legends. Perhaps he is a little comparable in this respect with Napoleon. Certainly he has a similar power of attracting and holding allegiance. He is very seldom criticized by those who know him personally. What Picasso is, apart from what he does, is indeed remarkable – and perhaps all the more so for being indefinable. It is not how he speaks or acts that seems to be so memorable: it is his presence – the hint of what is going on inside the man.
In recent years all accounts of Picasso as a personality have become absurd. He has surrounded himself with a court, and he is king. The effects of the consequent flattery and insulation have been devastating, not only on the judgement of all those who know him, but on his own work. A special kind of sickening poeticizing has been invented for the homages. Thus Georges Besson wrote in 1952:
I almost forgot to tell you – or have I told you already? – that this man, whose tastes are not extravagant, has a weakness for black diamonds. He owns two superb ones and he will never part with them. They weigh a good hundred carats each. He wears them where other people have eyes. It’s as I tell you. And I assure you that those women on whom these diamonds turn their fire are utterly bowled over.
But before he had courtiers, those who wrote about Picasso found his eyes particularly remarkable. Fernande Olivier, describing how she first met him in 1904, wrote:
Small, black, thick-set, restless, disquieting, with eyes dark, profound, piercing, strange, almost staring.
His eyes [wrote Gertrude Stein, referring to about the same period] were more wonderful than even I remembered, so full and so brown, and his hands so dark and delicate and alert.
In 1920, when Maurice Raynal was disappointed with Picasso’s latest exhibition, he wrote: ‘Some of the stars in his eyes have gone out.’
The eyes in the head become a symbol for the whole man.
In the films about Picasso you can see his eyes for yourself. They reveal – or so it seems to me – the inordinate intensity of the man’s inner life and at the same time the solitariness of that life.
Little by little we are being forced to consider the general nature, the trend of Picasso’s subjective experience. How to define this spirit which he himself values more than his work, which charges his presence, and which burns in his eyes?
Picasso was born in Malaga in 1881. From Malaga you can see the Atlas mountains and, when the wind is in the south-east, you can smell the desert. Picasso’s ancestors, on both sides of his middle-class family, had belonged to Malaga for several generations. In 1900, when he was nineteen years old, Picasso left Spain for the first time in his life and spent a few months in Paris. In 1904 he settled in Paris permanently. Between 1904 and 1934 he returned to Spain about half a dozen times on holidays and painting trips. Since 1934, when Picasso was fifty-three, he has never been back. Picasso has spent most of his life in voluntary exile.
Exile is a state which, in its subjective effects, never stands still: you either feel increasingly exiled as time passes, or increasingly absorbed by your adopted country. Picasso certainly adopted France, and France him. His friends were French, he spoke in French, and he came to write in French. He was able to share in French patriotism. (Patriotism – as a result of the three German invasions of French territory in 1870, 1914, and 1940 – was a far more important element in French intellectual life than in English intellectual life during the same period.) France, on her side, recognized Picasso’s genius, and created his reputation for the world to take over in 1945. Nevertheless, and despite all this, I believe that Picasso has felt increasingly exiled.
His deepest needs have not been met in France. He has remained solitary. Loneliness is so common today in the metropolitan world of Western Europe and North America that the term has to cover a multitude of varieties. Old-age pensioners are lonely on park-seats. Old millionaires are said to be lonely as they look out at the world through their curtained windows. Some suffer loneliness in a crowd, others become lonely when there is not a soul in sight. We comfort ourselves by saying that it is also the privilege of great men to be lonely. But Picasso’s loneliness, if I am right, does not fit into any of these categories. He is lonely in the same way as a lunatic is lonely: because it seems to the lunatic that, since he never meets opposition, he can do anything. It is – by a paradox – the loneliness of self-sufficiency. This is not necessarily a loneliness that is suffered directly; more often it is a loneliness that provokes ceaseless activity and gives no rest. The worst thing in an asylum is that there is so little natural sleep. Perhaps it is foolish of me to use this image because it may confirm the philistine idea that Picasso is mad. He is not mad. Yet there is no other comparison which can illustrate so clearly what I mean. To explain why this should be so we must consider what Picasso has been exiled from: the Spain of his childhood and youth.
Picasso lived in Malaga until he was ten. Then the family moved to Corunna on the north Atlantic coast of Spain. When he was fourteen they moved again to Barcelona. Each of these cities is very different from the others – climatically, historically, and temperamentally. One of the difficulties of writing about Spain is that there are several Spains. Spain – in economic and social terms – has not yet achieved its unity. People speak of two Italies – north and south of Rome. One would have to speak of half a dozen Spains. This point is of crucial importance because it reminds us that Spain is historically behind the rest of Europe. Spain is separate.
Its geographical position and the fact that it is part of Christendom tend to deceive us. It would be truer to say that Spain represents a Christendom to which no other country has belonged since the Crusades. As for its geographical position, it might – if viewed with a fresh eye – be compared with Turkey’s. Certainly there is the Spanish contribution to European culture, but this also is deceptive. It is limited to literature and painting. It does not include the arts or sciences which are more directly dependent on comparable forms of social development; Spain has contributed little to European architecture, music, philosophy, medicine, physics, or engineering. Even, I would suggest, Spanish painting and literature have had less effect in Spain than outside Spain. They have belonged to those who could afford a vision of a way of life as it was lived in Europe, beyond the Pyrenees.
4 Spanish landscape
Spain is separate because Spain is still a feudal country. Seventy years ago, when Picasso was a boy, this feudalism was considerably less modified than today. Then, more than three quarters of the workers worked on the land. Their tools were primitive and the division of labour was only in a preliminary stage. In many areas production was only for household or village use. Compulsory labour-service was exacted, in various forms, by landlords from tenants. The landlords, by means of the ‘cacique’ system, had what amounted to judicial power of life and death over the peasants. These are all classic symptoms of feudalism. But pure classic feudalism is probably an abstraction. The Spanish variety at the end of the last century was complicated and impure.
5 Spanish peasants harvesting peppers
I am not equipped to unravel Spanish history here. But with a few rough generalizations and one or two examples I must attempt to suggest, however briefly, the period of Spanish development into which Picasso was born. Only then, I believe, have we
a hope of understanding his spirit.
Spanish feudalism was complicated, distorted – in two opposed ways. On one hand there was a great deal in Spain which was pre-feudal; on the other hand there existed a very large administrative middle class – comprising nearly one fifth of the population.
The pre-feudal ‘relics’ were mostly to be found in isolated and inaccessible rural areas – but this term covers most of the land in Spain. In the Basque country and Navarre, for example, there was a system of land tenure in operation dating back to the tenth century and based on the clan system. On the vast, largely unworked estates in Andalusia, the labour system had more in common with Roman slavery than medieval feudalism. On the central plateau of Spain the sheep-farmers and cattle-breeders of Castile led a life which was essentially nomadic and tribal. But perhaps the most important ‘relic’ of all was to be found in the consciousness of the average Spanish peasant. Somehow he remembered a communal way of life – its exact form of organization varying greatly from province to province. This memory, combined with his bitter and unchanging poverty, made him despise private property and cling to an idea of freedom – which had nothing whatsoever to do with the liberté of the French Revolution, but which was the freedom and pride of the individual within a primitive, spontaneous, and small collective. He was the peasant who later, in the Civil War, wished to destroy all money.
The Spanish middle classes were born with the bureaucracy which was established in the sixteenth century to administer the Inquisition, the South American colonies, and the occupied territories in Italy and northern Europe. From the beginning, this bureaucracy was unproductive and vast in scale. A century after its formation the Venetian ambassador to Madrid wrote as follows:
Everyone who can, lives at the expense of the State. The number of all the government posts has been increased. In the Treasury alone there are more than 40,000 clerks, many of whom draw twice the pay that is assigned to them. Yet their accounts are wrapped in impenetrable and perhaps malicious obscurity and it is impossible to get any order or number out of them.
At the same period there were 24,000 tax collectors and 20,000 in the pay of the Inquisition. Such figures give some idea of the economic unreality of this class.
At first South American gold and Flemish industries paid for its maintenance. Later, as Spanish power declined, the burden was transferred to the Spanish economy itself, which was totally incapable of bearing it. Chronic impoverishment set in; there was no attempt to develop the economy, because this so-called middle class did not understand the link between capital and production: instead they sank back into provincial improvidence, proliferating only their ‘connexions’. By the middle of the last century every village postman owed his position – through a long chain of intermediaries – to a Minister in Madrid. When the government fell, the postman lost his job to a ‘supporter’ of the next government.
This is the general, typical history: there were exceptions. By Picasso’s time capitalist industrial enterprises had been started in the north, though still on a small scale. The middle-class young had joined the army and made junta plans to ‘modernize’ Spain. There was a liberal and European-orientated tradition in certain professions. In 1873 a Republic had been proclaimed, but it had lasted for only one year.
What I want to establish is that the Spanish middle class, among whom Picasso was brought up, had – even if they wore the same clothes and read some of the same books -very little in common with their French or English or German contemporaries. Such middle-class virtues as there were in Spain were not created of necessity: if they existed, they were cultivated theoretically. There had been no successful bourgeois revolution. In an absolutist state the middle class had no independent power and so the virtues of initiative, industriousness, non-conformism, thrift, scientific curiosity, had no reason to exist. On the contrary the history of the Spanish middle class had encouraged the very opposite traits. The Inquisition had insisted upon the most rigid orthodoxy, both religious and racial: Jews and Moors were considered inferior races: a violent and hieratic snobbery had been developed. Equally, the state bureaucracy had discouraged initiative and put a premium on safe laziness. It came to be thought that to work hard was to lose one’s dignity. The energy of the Spanish middle class was turned to ritual, which bestows on events a significance gathered from the past and precludes innovation or the thought of it.
6 Easter procession in Lorca
Yet at the same time it must be remembered that Spaniards had not paid the price of progress as it was being paid in France or England. The wealthiest among them were land-owners, not bankers. As a class they served the Church, the estates, the army, and the absolute monarchy; they did not serve capital. This meant that their lives, although very provincially circumscribed, were not depersonalized and made anonymous by the power of money. (The cash nexus, which Carlyle was thundering against in England in the 1840s, does not exist in Spain even now.) It also meant that their class enemy was the peasantry, not a proletariat. A proletariat has to be outwitted and tricked; peasants can mostly be ignored and occasionally intimidated by force. Consequently, the Spanish middle classes were not forced to be hypocritical: they were not trapped between their professed morality and what they needed to do to survive. Because there was no class they had to trick, they could at least be honest to themselves. Within strict limits, they could be proud and independent and could trust their own emotions. (This partly explains why Spaniards have the reputation in the rest of Europe of being so ‘passionate’.)
Spain then was separate. Its economy was predominantly feudal. The memories and hopes of its peasants were pre-feudal. Its large and unusual middle class, whilst maintaining many apparent connexions with contemporary Europe, had still not made the equivalent of a bourgeois revolution. The tragedy of Spain lay (and still lies) in this historical paradox. Spain is a country tied on an historical rack – the symbolic equivalent of its own Inquisition’s instrument of torture. It is stretched between the tenth and the twentieth centuries. Between them there have not arisen, as in other countries, those contradictions which can lead to further development: instead there is unchanging poverty and a terrible equilibrium.
The typical modern political movement in Spain was anarchism. As a youth in Barcelona, Picasso was on the fringes of this movement. The anarchism that took root in Spain was Bakunin’s variety. Bakunin was the most violent of the anarchist thinkers.
Let us put our trust in the eternal spirit which destroys and annihilates only because it is the unsearchable and eternally creative source of all life. The urge to destroy is also a creative urge.
It is worth comparing this famous text of Bakunin’s with one of Picasso’s most famous remarks about his own art. ‘A painting’, he said, ‘is a sum of destructions.’
The reason why anarchism is typical of Spain and why it achieved a mass following in Spain to a degree which it achieved nowhere else, is that, as a political doctrine, it also is stretched on an historical rack. It connects social relations as they once were under primitive collective ownership with a millennium in the future which is to begin suddenly and violently on the Day of Revolution. It ignores all processes of development and concentrates into a single, almost mystical moment or act all the powers of an avenging angel born of centuries of endured and unchanging suffering.
Gerald Brenan, in his excellent book, The Spanish Labyrinth, records the following incident during the Civil War:
I was standing on a hill watching the smoke and flames of some two hundred houses in Malaga mount into the sky. An old anarchist of my acquaintance was standing beside me.
‘What do you think of that?’ he asked.
I said, ‘They are burning down Malaga.’
‘Yes,’ he said, ‘they are burning it down. And I tell you, not one stone will be left on another stone – no, not a plant not even a cabbage will grow there, so that there may be no more wickedness in the world.’
This is typically Spanish: the
belief that everything – the whole human condition – can be violently and magnificently changed in one moment. And the belief has arisen because nothing has changed for so long, because in the end the Spaniard is forced to believe in a magical transformation in which the power of the will, the power of the wishes of men still uncomplicated by the moral nuances of a civilization in which each hopes to save himself first, can triumph over all material conditions, can triumph over the slow accumulation of new productive means which in reality is the only condition of progress. The terrible equilibrium of the rack produces from time to time a terrible impatience.
There is also an economic logic to the old anarchist’s outburst as he looks down at Malaga. (This logic does not necessarily enter his own considerations for he has long deserted logic – as any of us might if tied to the rack.) This is the logic of the fact that the Spanish ruling class have established nothing, have built nothing, have discovered nothing that can be of the slightest use to the peasants who are overthrowing them. Expropriate the expropriators! But here the original expropriators have added nothing to what they expropriated. There is only the bare land. This can once again be cultivated by a primitive collectivist commune. Everything else is useless – and therefore luxury and corruption are better burnt.
7 Spanish peasants returning from market
In such a situation it is inevitable that revolutionary energy becomes regressive: that is to say aims at reestablishing a more primitive but juster form of social relations, which frees men from human slavery but precludes them from the possibility of freeing themselves from the slavery of nature.
Picasso’s painting Guernica is said to be a protest against modern war, and is even sometimes claimed to be a kind of prophetic protest against nuclear war. Yet at the time when Guernica was razed to the ground by German Junkers and Heinkel bombers, most of the anarchists in Andalusia who had collectivized the land were unable to ‘expropriate’ a single piece of agricultural machinery. Such is the rack.