Honegger, Arthur, 256
Horta de Ebro, 57-63, 64, 145, 146, 170-71
Hugnet, Georges, 279, 292, 303, 364
Hugue, Manuel. See Manolo
Hugué, Rosita, 413, 415, 416, 417, 423; P’s portraits of, 423; P’s desire to marry, 423-24, 425
Hugue, Totote, 184, 413, 415, 416, 417, 423
Huidobro, Vicente, 292
Humanité, L’ 373, 403, 412
Humbert, Manuel, 228
Humbert, Marcelle (Eva), 192-93, 201, 202, 203, 206, 236, 381; her ill-health, 202-3, 211; final illness and death, 214-16, 235
Hunt,Holman, 81
Hutin, Jacqueline. See Picasso, Jacqueline Roque
Hutin, Kathy, 411, 420, 423, 460
Iberian art, 155; its influence on P, 147, 148-49
Iberian figures theft, 187, 188-91, 295
Ibsen, Henrik, 73
Illo Pepe. See Delgado, José
Illustrations, 73-74, 240, 271, 285-86, 297, 304, 308, 388-89, 391-92, 426, 432, 467. See also specific titles.
Impressionism, Impressionists, 50, 67, 84, 197, 241
Ingres, Jean Auguste, 84
Instituto da Guarda (La Coruña), 34
International exhibition (Paris) (1937), 318-19
“Invention of the True Cross” (Piero della Francesca), 168
Irreguliére, L’(Charles-Roux), 367-68
Isabella I, Queen of Spain, 44
Isabella II, Queen of Spain, 13-14
“Italienne, L’, ”221
Ivanhoe (comic strip), 403
“Ivanhoe” drawings, 418
Jacob, Max, 73, 98-99, 103-4, 105, 111-12, 124, 125, 127, 129, 130, 131, 132, 133, 137, 159, 163, 177, 184, 190, 201, 202-3, 206, 210, 214, 215, 217, 219, 256, 262, 271, 279, 303, 366-67, 379, 400, 456; shares room with P, 114-15; P’s drawings of, 115-16, 133, 213; P’s letters to, 118-19; his reading of P’s palm, 161, 486-87; his increasing religiosity, 212-13; retires from Paris, 243-44; his portrait of P, 252; arrest by Gestapo, 367-68; his death, 368
“Jacqueline dans un fauteuil à bascule, ” 425
“Jacqueline de Vauvenargues, ” 443
Jarry, Alfred, 85, 132, 158
“Jeune Femme, ” 100
“Jeune fille à la mandoline, ” 178-79
“Jeune fille avec un coq, ” 338
“Jeune fille dessinant dans un intérieur, ” 297-98
“Joiede vivre, ” 386
“Joie de Vivre” (Matisse), 149
“Jolie Rousse, ” (Apollinaire), 231
Joliot-Curie, Frédéric, 402
“Joueurs de Cartes, ” 203
“Joueuse de mandoline, ” 248
Journal, Le, 181
Joventut, 73, 74, 92
Joyce, James, 45, 253-54, 489
Juan-les-Pins, 244-45, 268-69, 273, 274-75
“Judgment of Paris” (Raphael), 445
Jung, C. G., 102; on P, 488-92
Junyent, Sebastià, 67, 81, 83, 87; P’s portrait of, 80
Junyer-Vidal, Sebastià, 67, 113, 117-18, 124, 226, 296
Kahnweiler (art dealer), 152, 156, 165, 173, 184, 200, 201, 206, 209, 212, 213, 233, 245, 247, 250, 289, 352, 355, 403, 436, 456, 473, 476; Olivier on, 162; P’s Cubist portrait of, 178, 179; his affection for P, 195-96; as P’s exclusive dealer, 199; auction of his confiscated collection, 248, 253
Kandinsky, Wassily, 263
Karsavina, Tamara, 219
Kerrigan, Anthony, 475
Keynes, Maynard, 383
Khrushchev, Nikita, 434
Kisling, Moise, 183, 210, 352
Klee, Paul, 263, 331
Kolb, Jacqueline, 231
Korean War, 401, 402
Kostrowicka, Angelica, 131
Kremegne, Pinchus, 210, 217
Kunsthaus (Zurich), P’s retrospective exhibition at (1932), 290, 488
Kupka, Frantiüek, 186
La Belle Chelita, 111
La Coruña, 30, 31 ff.
La Coruña. 34
La Fresnaye, Roger de, 183, 186, 212, 225
Lake, Carlton, 383, 400
Landscapes, 164, 269; Malaga, 51; Buen Retiro, 55; Cubist, 171-72; interior, 428,432, 433
Langevin, Paul, 397
Lapin Agile (restaurant), 130, 143, 309
Laporte, Geneviève, 277, 313-14, 332, 353, 374-77, 381-82, 384, 389, 399-401, 403-4, 406, 411, 414-16, 417, 419, 425, 431-32, 434-35, 445; her affair with P, 399-401, 403-4; her retreat to Auvergne, 410; emergence and misunderstandings, 414-15, 416-17; P’s illustrations for her poetry, 426; her friendship with Cocteau, 431
Lapré, Marcelle, 193
Larrea.Juan, 147, 338
La Souchére, Romuald Dorde, 385-86
La Tour, Georges de, 168
Laurencin, Marie, 129, 158, 159, 160, 161-62, 163, 183, 190-91, 201, 209, 275
Laurens, Henri, 270
Laval, Pierre, 357
Lazerme, Comte de, 413, 420, 431, 456
Lazerme, Comtesse de, 413, 420, 423-24, 431, 456, 463, 469; P’s portraits of, 422
Le Bare de Bouteville, 85
LeCorbusier, 438-39
Leenhoff, Ferdinand, 446 ff.
Le Fauconnier, Henri, 165, 183, 186
Leger, Fernand, 165, 183, 186, 201, 212, 240, 352
Leicester Galleries, 248-49
Leiris, Louise, 250, 354, 414, 428
Leiris, Michel, 268, 279, 302, 303, 329, 354, 362, 414, 417, 428
Leiris gallery, 396, 460
Le Nain, 442
Leon, Juan de, 15
Leonardo da Vinci, 135, 168, 395
LesClochettes, P’s wall-painting at, 196
Lettres françaises, Les, 376, 412; P’s birthday issue, 404-5
Level, Andre, 126, 162, 178, 199, 206, 213
Leymairie, Isabelle, 460, 468
Leymairie, Jean, 460, 468
Lhote, André, 183, 186
Life magazine, 345
Life with Picasso (Gilot/Lake), 382-84, 400, 462 ., 466, 467, 468
Linocuts, 450, 451
Lipchitz, Jacques, 210, 280, 352, 359
Lithographs, 240, 258-59, 381, 387, 388, 397, 398
Llotja art school (Barcelona), 39, 47 ff.
Llull, Ramon, 44
Loeb, Pierre, 293
“Lola de Valence” (Manet), 446
London, P’s exhibitions in, 339, 380. See also, Grafton Gallery, Leicester Galleries, Tate Gallery
London Daily Mail, 249
London Evening News, 249
London Morning Post, 249
London Telegraph, 249
London Times, 198, 380
Lopez y Robles, Inés (P’s grandmother), 15-16
Louvre, 84, 187, 189; P’s paintings hung in, 473-74
Lysistrata (trans. Seldes), P’s illustrations for, 297
Maar, Dora, 135-36, 278, 309-10, 311, 312, 316-17, 329-30, 333, 341-2, 343, 344, 345, 346, 352, 353, 354, 359, 364, 366, 378, 381, 382, 385, 387, 449; P’s portraits of, 319, 330, 333, 340-41, 346, 353-54, 358, 360; her photographs of “Guernica, ” 321-22, 324; P’s sculpture of, 355, 356; her nervous breakdown, 378, 379
Mac Orlan, Pierre, 130, 161
“Madame Soler, ” 200
Madrid, 40, 53 ff., fall of, 340; food center, 338
Madrid, Notas de Arte, 93
Madrozo, Frédéric de, 219
Maeterlinck, Maurice, 72
Magritte, René, 293
Mahaut, Henri, 213
Maillol, Aristide, 184, 315, 392
Maison de la Pensée françoise, 396, 397; P’s retrospective exhibition (1954), 425
“Ma Jolie, ”207
“Ma Jolie et bouteille de Bass, ” 476
Málaga, 11-14, 26-27; fall of, 319
Málaga landscape, 51
Mallarme, Stéphan, 85, 303
Malraux, André, 29, 153, 167, 272, 367, 470
Mamelles de Tiresias (Apollinaire).
Manet, Edouard, 98, 445 ff., 470; P on, 168
Manet, Eugène, 446, 447, 448-49
Mangin, Charles, 233
Mangin, Henri, 174
Manifesto (1918), 263
Manoio (Manuel Hugue), 67, 76, 88, 90, 91, 106, 111, 130, 184, 185, 190, 205, 271, 275, 413; friendship with P, 125-26; P’s poster for exhibition, 429
Man Ray, 309, 311, 341
Manuscrit trouve dans un chapeau (Salmon), P’s illustrations for, 240
Manyac, Pere, 87-88, 94, 97, 98, 99-100, 102, 107, 113; P’s portrait of, 88
Maragall, Joan, 73, 74
March, Ausias, 44
Marcoussis, Louis, 183, 192, 193
Marin, Conception, 17
Marinetti, Emilio, 192
Maritain, Jacques, 219
Marquet, Albert, 89, 352,414
Marx, Karl, 375
Mas Notre-Dame-de-Vie, 448, 454 ff., 461-62, 473, 476
“ Massacre en Coree, ” 402
“Massacre of the Innocents” (Poussin), 458
Massine, Leonide, 220, 221, 224, 227, 264
Masson, Andre, 263, 293
Maternities, 250-51
“Maternity, ” 115
Matisse, Henri, 29, 85, 86, 89, 103, 115, 128, 129, 130, 149, 151, 152, 153, 154, 156, 162, 174, 177, 184, 197, 198, 201, 209, 210, 217, 229, 233, 240, 248, 250, 261, 264, 266, 267, 270, 271, 290, 291, 293, 313, 345, 347, 348, 349, 350, 352, 354, 371, 380, 382, 384, 396, 397, 411, 414, 420, 422, 427, 429, 438, 461, 474; friendship with P, 140-41, 174-75, 211, 330-31, 442; P on, 168, 264; and Juan Gris, 211-12; the Vence Chapel, 407; his death, 424, 426
Matisse, Pierre, 348
Matisse-Duthuit, Marguerite, 140, 141, 174, 372; Matisse’s portrait of, 177; her arrest, 368
Maurend, Victorine, 445-46, 447, 448-49
Maximes (Vauvenargues), 440
Médrano circus, 134
Mendoza, Carmen, 24, 25; P’s portrait of, 41
Ménerbes, house at, 381
“Meninas, Las” (Velasquez), 40, 95, 310; P’s variations of, 436-39, 471, 478
Mercure (ballet), P’s scenery and costumes for, 256, 264-65, 270
Mercure de France, 115, 295
“Metamorphose, ” 281
Metamorphoses (Ovid), P’s etchings for, 285-86
Metzinger, Jean, 165, 166, 182, 186
“Meurtre, Le, ” 297
Michelangelo, 198
Millais, John Everett, 81
Minotaur, 244-45, 281, 294-95, 298, 308, 330
Minotaure, 292-93, 294
“Minotauromachie, ” 298, 326
Mir, Joachim, 67, 76
Miró, Joan, 226, 241, 244, 263, 293, 352, 442, 463
Modemismo, 50, 54, 55, 65, 66, 70, 71, 78, 81, 92, 94, 266
Modigliani, Amadeo, 86, 161, 210, 229, 252, 263, 278, 432, 442; his portrait of P, 252
Mollet, “Baron, ” 219
Monde, Le, 463
Mondrian, Piet, 183, 196
Monet, Claude, 84, 98
“Montagne, La” (Maillol), 315
Monte Carlo, P’s visit to, 270-73
Montmartre, 142. See also Bateau-Lavoir
Moors, 12-13, 32-33, 43, 44
Morales, Luis de, 117
Moreas, Jean, 132, 138
Moreau, Gustave, 85
Morice, Charles, 115, 124; on P’s early paintings, 115
Morosov, Ivan, 141
“Mort d’Arlequin, ” 167, 456
Mortimer, Raymond, 383
Moslems, 12-13
Mougins, 330-31, 333, 471
“Moulin de la Galette, ” 88, 113
Mourlol, Fernand, 381, 387, 388, 396
Munch, Edward, 73, 85
Munoz Degrain, Antonio, 18, 21, 24, 40, 41, 53-54, 67
“Muntanya de Santa Barbara” (Pallarès), 177
Murillo, Bartolome, 40
Musée d’Art moderne (Paris), 393
Musée des Artsdecoratifs (Paris), 429
Musée national d’Art moderne, P’s retrospective exhibition at (1967), 468-69
Museo Picasso (Barcelona), 95, 452, 457, 486; opening of, 460; P’s gifts to, 471, 472
Museum of Modern Art (Madrid), 473
Museum of Modem Art (New York), 200, 290, 321; P’s retrospective exhibitions at, 339, 346-47, 439; receives “Guitar” from P, 473
Mussolini, Benito, 317, 341, 344, 363
Mystire Picasso, Le (film), 429-31
Nabis, the, 84, 85, 103
National Exhibition (Madrid), 51-52
“Nature Morte, ” 249
“Nature morte à la chaise cannée, ” 191, 194
“Nature morte à la tranche de melon, ” 270
“Nature morte aux cerises, ” 363
“Nature morte sur un piano, ” 194
Navarro García, Ramón, 39
Negro Period, 152-55, 163, 164-65, 291
Neo-classical Period, 237, 258-60, 286
Neo-lmpressionists, 50, 84, 149, 181
Neruda, Pablo, 395
Neue Züricher Zeitung, 488
New Masses, 373
Nietzsche, Friedrich, 66, 72, 73, 93, 166
Nijinsky, Vaslav, 219
Nixon, G. C, 485
Noailles, Marie-Laure de, 218, 364
Nonell, Isidro, 67, 69, 70, 71, 74, 76, 83, 86, 88, 100, 120, 133, 210
Nord-Sud, 262
“Nu, ” 180
“Nu descendant un escalier” (Duchamp), 196
Nuño, Gaya, 128
“Nu se coiffant, ” 355
Oettingen, Madame d’, 212
“Old Guitar-Player, ” 117
“Old Jew,” 117
“Old Woman Receiving Holy Oil from a Choirboy, ” 29
Oliva Bridgman. Joan, 74
Olivier, Fernande, 133, 137, 139, 140, 141, 143, 144, 158, 159, 163, 170, 176, 177, 185-86, 189, 190, 192, 193, 201, 236, 247, 271, 274, 280, 291, 399, 406; affair with P, 126-30, 135-36; P’s portraits of, 146-47, 172; her dislike of P’s friends, 161-62; on Kahnweilcr, 162; Horta holiday, 171; her reaction to Cubism, 172; her adoption whim, 175; Cada-ques holiday, 179 ff.; ends affair with P, 191-93; her memoirs, 129, 247, 295-96, 463
Oiler, Josép, 87, 99
“Olympia, ” (Manet), 445
“Omnibus, ” 113
Oppi,Ubaldo, 192
“Oraciones” (Rusiñol), 67
Orgia macabra (Baroja), 92
Orphism, 183
Ortega (bullfighter), 457
Ovid, 285-86
Pablo Picasso (d’Ors), 67
Pach, Walter, 183
Pagés, Madeleine, 231
Painter, George, 253-54
Palacio Aguilar, 452
Pallarès Grau, Manuel, 48, 49, 57-58, 59-61, 76, 82, 83-84, 90, 97, 116, 144, 170, 171, 177, 226, 229, 308, 337,413, 428, 431, 450-51, 457
Pallarès Grau, Salvador, 60
Palau i Fabre, Josép, 60, 68, 111, 118, 148, 180, 338
Papier-collé, 194, 195, 199-201, 203
Parade (Ballet), 237, 242, 257, 264; P’s settings for, 219-25; opening night, 223-25; P on, 226; Barcelona performance, 226; first London performance, 238
Parallélement (Verlaine), 86
Paris, 81-90, 124 ff.; occupied, 350 ff., 363-64, 366
Paris-Journal, 189, 190, 265
Parmelin, Hélène, 29, 406, 407-8, 413, 417, 427, 430, 433, 434, 436, 440, 443, 455, 457, 458
Pastels, 95, 96
Pavilion de Marsan, P’s retrospective exhibition at (1955), 429
“Paysage de Gósol, ” 476
Peau de I’Ours, La (collector’s club), 206
“Peche de nuit à Antibes, ” 385
“Peintre et son modéle, 458-60, 461
Peintres cubistes, méditations esthétiques, Les, (Apollinaire), 201
Péladan, Joseph, 85
Pèl i Ploma, 67, 73, 74, 92, 96, 111, 118, 119
Penrose, Lady, 476
Penrose, Sir Roland, 100, 255, 286, 311, 332, 344, 370,402, 476
Pepe lllo, See Delgado, José
Pergolesi, Giovanni, 242
Perpignan, 413-14, 420, 422 ff., 429
P
ershing. General John, 233
“Personnage rembranesque, ” 470
Peruggia, 206
Petain, Henri, 348, 350
Peter the Catholic, 423
Petit Palais, P’s retrospective exhibition at (1967), 468-69
Phanerogame, Le (Jacob), P’s illustrations for, 240
Philadelphia Museum of Art, 200
Philip IV, King of Spain, 55
Picabia, Francis, 165, 183, 186, 201, 209, 293
Picaco (Moorish prince), 16
Picasso, Claude, See Ruiz-Picasso, Claude
Picasso, Emilienne (Paulo’s wife), 464, 465
Picasso, Jacqueline Hutin, (P’s second wife), 411-12, 417, 420, 423-25, 428, 435, 436, 439, 470; P’s portraits of, 419, 425, 427, 428, 432, 443, 444, 445, 450, 456-57, 461, 467, 471, 479; her dislike of Vauve-nargues, 443, 451, 454; marriage to P, 456; her influence, 464, 476-77
Picasso, Maria Concepción (later Widmayer) (P’s daughter) (Maya), 300, 317, 338, 353, 398, 413, 420, 423, 428, 464; P’s portraits of, 331-32, 369; P provides for during WW II, 347
Picasso, Marina (P’s granddaughter), 460, 464; Jacqueline’s influence on P, 464; P’s suit for guardianship, 465
Picasso, Mateo, 16
Picasso, Olga Koklova (P’s first wife), 226, 228, 230-33, 234, 236, 237, 239, 242, 244, 250, 254, 268, 270, 286, 292, 295, 306, 311, 314, 316, 336, 338, 387, 389, 398, 404, 465, 467; meets P, 222-23; P’s portraits of, 226-27, 237, 261; marriage to P, 231-33; pregnancy, 245; birth of Paulo, 246; illness, 255; marital discord, 274, 275-76; her jealousy of Fernande Olivier, 295-96; legal separation, 298-300, 391; P provides for during WW II, 347; and Françoise Gilot, 392; her death, 427; burial at Cannes, 456 n.
Picasso, Pablito (P’s grandson), 460, 464; P’s suit for guardianship, 465; refused admittance to P’s home, 476
Picasso, Pablo, Under separate headings see Collages; Cubism; Drawings; Etchings and engravings; Illustrations; Landscapes; Papier-colles; Pastels; Portraits; Sculpture; Still-lives, Birth, 11, 12, 13, 14, 17; christening, 14; ancestors, 14-17, 483-84; relationship with father, 19-20, 21, 25-26, 35-36, 38-39, 40, 49, 51, 54-55, 56; relationship with mother, 20, 39; childhood and early drawing, 20-27; education, 25; influence of Catholicism, 27-30; fear of illness and death, 28-29, 148, 234, 356; his sense of sacred, 29; move to La Coruña, 30, 31-40; art schools and artistic education, 34-36; early oil paintings, 36-38, 40; his relationship with animals, 37, 133-34, 330, 435; abbreviates name to Picasso, 39; first Prado visit, 40; move to Barcelona, 40-42, 45, 65; Málaga holidays, 40-41, 50-51, 52-53; sketchbooks, 49, 55; friendship with Pallarès, 48, 57-63, 450-51; first studio, 51; break from academic tradition, 52; his signature, 52, 53, 55, 63, 90; enters Royal Academy in Madrid, 53-55; Goya’s influence on, 54,55; his Prado copies, 54-55; early fascination with bulls, 55; first steps toward Modernismo, 55; scarlet fever and convalescence at Horta, 57-63; his difficulty with languages, 64-65; and Els Quatro Gats, 65-82, 118; El Greco’s influence on, 67; estrangement from his family, 68; development of aesthetic, 69, 80, 168-70; and anarchism, 70-72; early trips to Paris, 82-90, 97, 113-16; reconciles with family, 82; fascination with windows, 78-79; his contract with Manyac, 88-89, 94, 99-100, 102, 107; final visit to Málaga, 90; moves to Madrid, 90; and death of Casagemas, 92, 95, 100-1, 109, 116; illustrations for Arte Joven. 92-93, 94; his return trips to Barcelona, 95, 107-8, 116, 225-27, 229, 296; Van Gogh’s influence on, 95, 100, 138; Saló Parés exhibit, 96; Vollard exhibit, 97-98; friendship with Max Jacob, 98-99, 103-4, 111-12, 114-15, 118-19, 212-13, 235-36, 279-80, 366-67, 456; the Blue Period, 101-3, 108-9, 116-23, 129, 134-35, 291; origins of titles of his works, 102; and money, 107, 143-44, 247, 289,428, 442, 453, 477; method of working, 109-10; Berthé Weill exhibition, 113, 115; his pride, 114; and art critics and criticism, 115, 198-99; mannerist phase, 117; fascination with hands, 117; death of Pèl i Ploma and his exclusion from Forma, 118-19; his studio with Soto, 119-20; early sales, 120; on “La Vie, ” 121; settles in Paris, 124; friendship with Manolo, 125-26; affair with Fernande Olivier, 126-30, 135-36, 144-48, 191-93; the Rose Period, 129, 134-35, 139, 148, 291; his Paris friends, 130-33; friendship with Apollinaire, 131-32, 456; love of circus, 134; and art dealers, 136-37; visits Holland, 137-38; harlequins, 100, 138, 167, 202, 209, 214, 227, 269, 471; other artistic influences, 138, 147, 148-51; meets Gertrude and Leo Stein, 139-40; friendship with Matisse, 140-41, 174, 211, 250, 271, 330-31; and art collectors, 141, 142-43; on success, 142, 229; Cézanne’s influence on, 138, 149-50, 155-56, 164-65, 168, 179; and “Demoiselles d’Avignon,” 150, 151, 152, 154; the Negro Period, 152-55, 163, 164-65, 291; his relationship with Braque, 156-57, 162, 165, 236, 271, 292; his admiration for Henri Rousseau, 157, 158-60; his relationship with Juan Gris, 161, 200-1; and Kahnweiler, 162, 195-96, 250; hashish experiments, 162; and Wiegel’s suicide, 163; summer in La Rue-des-Bois, 163-65; on concentration, 168; friendship with Gertrude Stein, 173-74, 211-12, 240, 246; Iberian figures theft, 187, 188-91; his implication in “Gioconda” theft, 186-87, 190; his campaign for Apol-linaire’s prison release, 190-91; his affair with Marcelle (Eva) Humbert, 192-95, 215-16; and fame, 196, 314-15, 370-73,381,426,453,454; Grafton Gallery exhibit, 197-98; Armory Show, 200-1; his father’s death, 202; ambivalent feelings toward women, 203-4, 315-16; and WW I, 207, 208-17, 230; Rosenberg becomes his dealer, 213, 233; the Montrouge house, 217; and Cocteau, 218-20, 431-32; his costume designs and settings for ballets, 219-26, 237-38, 241-42, 245-46, 256, 264-65, 270; retrospective exhibitions, 221, 290-91, 293, 314, 339, 346-47, 371, 425, 429, 439, 451-52, 468-69, 488; masks, 222; meets Olga Koklova, 222-23; pointillist technique, 227; marriage to Olga, 231-33, 272, 274, 275-76, 389; rue de la Boćtie flat, 233-34, 401, 404; and Apollinaire’s death, 234-35; colossal style, 237, 244-45, 255, 281; neoclassical period, 237, 244-45, 252-53, 258-60, 269, 286, 291, 297; visits London, 238-39; his one-man show at rue de la Boëtie gallery, 240-41; the Minotaur, 244-45, 281, 294-95, 298, 308, 330; birth of Paulo, 246; Kahnweiler and Uhde auctions, 247-48; Leicester Galleries exhibit, 248-49; Maternities, 250-51; settings for Antigone, 253, 256; meets Proust, 253-54; on Joyce, 254; and solitude, 257; on evolution, 257-58; representations of female body, 261-62, 276, 278, 281-83, 291, 392; friendship with Breton, 262-63; and Dadaists, 263; and Surrealism, 263-64, 265, 266-68, 285, 293, 295; his loathing of Freud, 267; relationship with son Paulo, 269, 404, 407, 466; and Pichot’s death, 271, 272; his affair with Marie-Thérèse Walter, 284-85, 286, 288, 290-91, 296-97, 316-17, 457; female monsters, 276, 278, 281-83, 291; fascination with keys, 279; bone figures, 281-83, 319-20; begins dating work exactly, 288; the Château de Beis-geloup, 289-90; and Dalí, 293-94; his mythology and symbolism, 294-95, 327, 447; and Fernande’s memoirs, 295; the girl-child image, 297; divorce suit, 298-300; birth of daughter Maya, 300; relationship with Sabartés, 300, 312-13, 333; inability to paint, 301, 307, 467-68; his poetry, 301-5, 318, 353; settles in Juan-les-Pins as Pablo Ruiz, 305, 306 ff.; other exhibitions, 305, 380, 395, 402, 425, 426, 429, 439, 451-52, 460, 467-68, 472, 474-76, 478-79; returns to Paris, 308; his affair with Dora Maar, 309-10, 316-17, 329-30, 341-42, 378; legal settlement with Olga, 309, 311; appointed director of Prado, 310, 314; his domination of his friends, 313, 314; his selfishness, 315; the Grands-Augustins studio, 317, 320, 329, 339, 351-52, 366, 415, 428, 451; and Spanish Civil War, 318-20, 338; “Guernica, ” 321-28, 329, 334; cock imagery, 332-33; and WW II, 333-34, 343-44, 347-49; and Communist Party, 335, 362, 372, 373-75, 376, 434; attack of sciatica, 335-37, 436; and Spanish refugees, 338-39; U.S. exhibitions, 339, 371; and Expressionism, 340; and Vollard’s death, 342; his flight to Royan, 344-46, 348; in occupied Paris, 350-70; his play, 353-54; and Gestapo, 359-60; meets Françoise Gilot, 364; his concern with aging, 365, 379-80, 418, 455-56; and Max Jacob’s arrest, 367-68; his affair with Françoise Gilot, 368, 378, 382-83, 384-87, 393, 399, 402, 404; at Salon d’Automne, 372; meets Geneviève Laporte, 375-77; on art and politics, 376-77; his rages, 377, 404; house at Menerbes, 381; the Gri-maldi Palace paintings, 385-87; works at Vallauris, 3
86, 389-90, 392 ff., 396, 398, 404-5, 417 ff., 425; his contact with former mistresses, 387; birth of son Claude, 389; La Galloise, 392; trip to Poland, 394-96; birth of daughter Paloma, 396; his affair with Geneviève Laporte, 399-401, 403-4, 414-16, 426, 431-32, 434-35; at Sheffield peace congress, 401-2; medieval characters, 403; his attachment to Claude and Paloma, 403; rue Gay-Lussac studio, 404, 405; seventieth birthday celebration, 404-5; “La Guerre et la paix, ” 406, 407-10; friendship with Edouard Pignon, 406; and Eluard’s death, 410, 411; meets Jacqueline Hutin, 411-12; period of extreme sociability, 412, 413; portrait of Stalin, 412-13; friendship withTo-tote Hugué, 413, 423; in Collioure, 414, 420-22, 424-25; the Verve suite, 417-18, 430, 459; use of cast shadow, 419; his affair with Jacqueline Hutin, 419-20, 424-25, 427, 428; and Derain’s death, 424; Matisse’s death, 426; Olga’s death, 427; La Californie house, 428, 434-35; his gifts to the Brune museum, 429; his poster design for Manolo exhibition, 429; Clouzot’s documentary film, 429-31; “Las Meninas” variations, 436-39; UNESCO commission, 436, 437-38; house at Vauvenargues, 440-41, 442 ff., 450, 453-54; his private collection, 442; use of colors, 445, 472; “Déjeuner sur l’herbe” variations, 445-52, 455, 456, 457; his admiration for Manet, 446; and Museo Picasso, 452-53, 471, 472; Mas Notre-Dame-de-Vie, 448, 454 ff., 461 ff; his influence on younger painters, 455; marriage to Jacqueline, 456; eightieth birthday celebration, 457; painter and model series, 458-60, 461; and publication of Gilot’s memoirs, 462 ff., 466, 467, 468; estrangement from children and grandchildren, 463-66, 468; prostate surgery, 467; eye trouble, 467-68; deafness, 468, 469; Lenin Peace Prize, 468; eighty-fifth birthday celebration, 468; musketeer figures, 470, 471; late circus figures, 470, 471; interest in tapestry, 472; “Guernica” testament, 473; other donations, 473, 476; ninetieth birthday celebration, 473; his paintings hung in Louvre, 473-74; increasing seculsion, 473-74, 476; his last years, 477-80; death, 479; burial, 480