巴勃罗·毕加索在里维埃拉的传奇时光

三十多年来，巴勃罗·毕加索在里维埃拉开辟了一条壮观的道路。他才华横溢，残忍而迷人。 1973 年，他在自己的别墅去世时 穆然，距内陆五英里 戛纳电影节, Picasso had lived in the French Riviera and Provence for nearly three decades after relocating semi-permanently from Paris, where he moved from his native Spain in 1904.

该 蔚蓝海岸, with its mimosa blossoms, olive groves and sun-drenched hills, was closer geographically and perhaps spiritually to his mother country, from which he had been in exile after his stance against the fascist dictator Francisco Franco.

Picasso fell under the southern spell of Provence and the French Riviera on his first visit to Avignon in 1912 (his masterpiece Les Demoiselles d’Avignon, painted in 1907, refers to a street with the same name in Barcelona), and he visited frequently during the 1920s and 1930s. In 1945, already in his sixties, with Paris liberated but hardly recovered from the war, he began to voyage there more regularly.

他总是焦躁不安，途径梅内尔贝斯（他在那里为他的前情人多拉·玛尔买了一套房子）和戈尔夫胡安（他在朋友的别墅里下榻）。他曾在阿尔勒、普罗旺斯地区艾克斯、戛纳、瓦洛里和 安提布，其中后两个有专门的毕加索博物馆。

安提比斯的毕加索博物馆

该 安提比斯的毕加索博物馆 sits ablaze in white-hot sunlight on the edge of the Mediterranean, housed in a 17th-century chateau with ramparts that plunge right into the rocks below. The time he spent there in the autumn of 1946 represents a tiny but pivotal sliver in the artist’s life. As is frequently the case with Picasso, it was buoyed by energy from a new muse and love, the painter Françoise Gilot, whom he had met three years earlier in occupied Paris.

在她 1964 年的回忆录中 与毕加索的生活, Gilot writes of her first visit to what was then known as Chateau Grimaldi in Antibes: “You’re going to swear here that you love me forever,” she recalls him saying, and she duly obeyed, though Gilot would leave him in 1953. But her presence in Antibes was vital to the sense of regeneration as a man and as an artist that Picasso felt during his stay. While there, she learned she was pregnant, and her son, Claude, was born the following May.

The chateau was at the time a struggling museum of Napoleon-era collectibles, and Picasso had coincidentally tried to buy the building two decades earlier. In 1946, with plenty of empty space to fill, the curator agreed to let Picasso use the second floor as his atelier.

Still as prolific as he had been in his youth, Picasso began painting with astonishing vigor and excitement, on any of the scarce materials available in postwar Antibes: plywood, fiber cement panels, boat paint and Ripolin, which was cheap, and ready-mixed.

When he left the chateau in late November (when its name was officially changed to the Musee Picasso), he donated 23 paintings and 44 drawings from his stay there and later, an extraordinary collection of unique ceramics he made in nearby Vallauris, in which Franoise’ s curvaceous body is often transformed into pots that evoke an ancient heritage.

The museum, filled with the work Picasso made there and soon after, represents an almost perfect time capsule. The Antibes period shows a palpable sense of renewal, marked by a profound visual response to the light, atmosphere and rituals of the Mediterranean setting (sea urchins, fish, fisherman); it’s also bursting with ardor for Françoise, the woman with whom he would share the next years.

It is most masterfully embodied in Joie de Vivre (1946), the largest painting in the collection. “This conveys Picasso’s joy after World War II at being on the shores of the Mediterranean, in the company of Françoise Gilot,” says Marilyn McCully, leading Picasso specialist who has most recently written about his visits to the Cote d’Azur in the 1920s and 1930s. “The mixture of her presence –the dancing nymph in the center– and creatures drawn from mythology who dance around her in the composition clearly demonstrates how Picasso brought personal and ancient associations together in his work.”

Outside on the Museum’s terrace, the lapis watery backdrop makes an ideal setting for the sculptures of Germaine Richier, which evoke both the antiquity associated with the Mediterranean region and the modern that Picasso so boldly represents indoors. Given his unfortunate reputation with women, chronicled so forcefully by Gilot herself, it’s a bit of karmic irony to have these bronzes here, standing tall above the water like sentries. Even more delicious to have them immortalized by Graham Greene, who lived in Antibes for 25 years — the confluence of art, literature and history that is a matter of course on the Cote d’Azur.

“阵雨沿着城墙吹过，格里马尔迪城堡露台上瘦弱的雕像湿漉漉的，”他在这本书的开场白中写道。 懊恼分为三部分, “and there was a sound absent during the flat blue days of summer, the continual rustle below the ramparts of the small surf.”

杰曼·里奇尔, born in 1902, came of age in the arts at a time when they were affected, scarred and molded by the devastation of two world wars. She was also of a generation where the artistic talents of women such as Camille Claudel were largely ignored and sculpture still presented itself mostly in figures that were heroic, macho renderings of the permanence of man.

据报道，毕加索在巴黎的一个 Salons de Mai 沙龙上对里奇尔说：“我们来自同一个家庭”，这位雕塑家的作品于 1947 年首次在这里展出。

The two artists met again in Antibes, at the museum which did not yet bear his name, but in which Picasso’s work in Antibes had been shown to the public since 1947. Richier responded enthusiastically when she was offered to exhibit her sculptures in the summer of 1959 – one of the factors undoubtedly was that the Arles-born artist was happy to be welcomed by the Malaga-born painter.

She died in 1959 while setting up an exhibition at the Musee Picasso; the pieces here are both the largest in scale and biggest grouping of her work. They embody a time where a heroic self-perception of man (and woman) has been marred and questioned by the horrible deeds perpetrated in World War II. They portray Mankind as a reduced vulnerable hybrid shell-here, in front of a deep blue Mediterranean background.

Nothing is more French: existential questioning, violent history, against a beautiful cultivated setting, on the ramparts of a onetime fortress, outside of a former atelier where love, life and creation took hold.

毕加索在戛纳的别墅：加州别墅

Villa La Californie 于 1920 年在戛纳建成。巴勃罗·毕加索 (Pablo Picasso) 于 1955 年买下了 Villa La Californie，并与他最后的妻子和缪斯一起住在那里，杰奎琳·罗克 until 1961, when they abandoned it because another building was built that blocked his sea view. It was here that the Spanish artist created his masterpiece ‘The Bay of Cannes’.

His granddaughter, Marina Picasso, inherited the house at age 22. Since Ms Picasso inherited the villa, she has renovated it in 1987, renaming it the ‘Pavillon de Flore’. It has since acted as a museum and gallery open to the public. In 2015 she put the house up for sale, stating to the press that it came with less than fond memories of an “indifferent” grandfather.

玛丽娜·毕加索 (Marina Picasso) 的父亲是毕加索与第一任妻子奥尔加·科赫洛娃 (Olga Khokhlova) 的儿子，奥尔加·科赫洛娃是俄罗斯裔乌克兰芭蕾舞演员。他因被迫担任艺术家的司机而感到羞辱。玛丽娜·毕加索 (Marina Picasso) 记得，她被贫穷的父亲保罗 (Paulo) 带到宏伟的三层楼房“加州”(La Californie) 门口，向冷漠的毕加索乞讨施舍。

“这不是一座给我留下很多美好回忆的房子，”她说。 “我在那里很少见到祖父。事后看来，我明白他可能对绘画着迷，对他来说没有什么比这更重要了。除非你还是个孩子，否则你不会有这样的经历。”十五年的治疗帮助玛丽娜·毕加索接受了痛苦的回忆。她在2001年的回忆录《毕加索，我的祖父》中发泄了自己的愤怒。

The sale “will be a way for me to turn the page on a rather painful story,” she told the newspaper Nice-Matin. She has reportedly received an offer of nearly £110 million for the villa, along with an extensive collection of his works.

Picasso’s Villa in Mougins: Notre-Dame-de-Vie

继加州别墅之后，巴勃罗·毕加索和他的妻子杰奎琳又购买了另一栋别墅，这次是在 穆然, where Picasso lived for 12 years, until his death in 1973 at age 91. During that time, the painter, more closed in on himself, worked tirelessly, turning the house of Notre-Dame-de-Vie into a gigantic artistic workshop.

The long saga of the 15-bedroom property and three-hectare estate started long before the Spanish painter bought it, when for decades it belonged to the Anglo-Irish Guinness brewing family. Benjamin Seymour Guinness first spotted the spectacular Mas de Notre Dame de Vie property in the 1925.

位于 穆然 – 驾车15分钟内陆 戛纳电影节 on the French Riviera – the property was then a “mas” (a traditional farmhouse) but Guinness, a banker and philanthropist descended from the banking arm of the Guinness family, and his artist wife Bridget converted it into a luxurious villa.

全年温暖的气候和周边地区绚丽的光线很快使穆然成为业余和专业艺术家的理想目的地。著名名人是这里的常客，其中包括温斯顿·丘吉尔，他喜欢在这座庞大别墅的庭院里作画。丘吉尔是本杰明和布里奇特的好朋友，并成为他们穆然家的常客，在他们的花园里画画，度过了许多夏日的日日夜夜。

巴勃罗·毕加索是一位完全不同类别的艺术家，也是吉尼斯世界纪录的朋友，并且像丘吉尔一样，成为他们家的常客。毕加索被圣母院的生活所吸引，最终他从本杰明和布里奇特的儿子洛尔手中买下了这栋房子。

该酒店的历史可追溯至 18 世纪，享有埃斯特雷尔山脉和戛纳湾的广阔景色。它由各种住宅组成，在最近的改建过程中，增加了许多复杂的附加设施，例如新的玻璃窗、泳池房、游泳池、电梯、空调、水疗中心、车库、看门人的房子和各种其他附属设施，直到财务为止。业主的困难和婚姻矛盾终止了未完成的工作。

After the master’s death at this villa in 1973, his widow Jacqueline Roque withheld inheritance and feuded with Picasso’s children. A spiteful woman, Roque also barred the grandchildren that were a result of Picasso’s first marriage, Marina Picasso and her brother Pablito, from the artist’s funeral. Pablito Picasso committed suicide a few days later. Jacqueline lived in the villa until 1986, when she also committed suicide (by shooting herself) there.

It was Jacqueline’s daughter from a previous marriage, Catherine Hutin-Blay, who inherited the estate. It stayed abandoned for almost 30 years, and she sold it in 2007 to the Dutch entrepreneur for €12 million. He had fallen in love with the house, pledged €10 million worth of extensive remodeling and renamed it “Cavern of the Minotaur” in honor of Picasso’s obsession with the mythical beast.

毕加索时期唯一的原始空间是主屋的工作室，是这位传奇艺术家通过开辟多个空间而创建的，仍然保留着油漆的痕迹，但没有他的作品。

想要更多？ 这是一个 著名别墅列表、拥有它们的名人，以及那里发生的疯狂事情。