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The Sorcerer's Apprentice: Picasso, Provence, and Douglas Cooper, by John Richardson
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John Richardson brings the same dazzling narrative style to this memoir as he did to Volumes I and II of A Life of Picasso. Robert Hughes called the second volume "a masterpiece in the making, the most illuminating biography yet written on a twentieth-century visual artist and the only one that can sustain comparison with Painter on Proust, Ellman on Joyce, or Edel on Henry James"; he also praised Richardson's "crispness of writing" and "impressive eye for the offbeat or scandalous detail." All these qualities conspire to make The Sorcerer's Apprentice a brilliant and fascinating chronicle.
This book is a sharply etched portrait of Douglas Cooper, the colorful Evelyn Waugh-like figure who single-handedly assembled the world's most important private cubist collection. It is also the story of Cooper and Richardson's association, which began in 1949 and came to fruition -- and ultimately disaster -- at the Chateau de Castille, the eighteenth-century colonnaded folly in Provence that they restored and filled with masterpieces by Picasso, Braque, Leger, and Juan Gris. Besides these artists and the women in their lives, Jean Cocteau, W. H. Auden, Cyril Connolly, Marie-Laure de Noailles, Helena Rubenstein, Peggy Guggenheim, and Anthony Blunt are just some of the figures who, through Richardson's insightful prose, leap off the page to appear before us in an entirely new light. A major revelation of the book is its portrait of Picasso in private; Richardson's friendship with the artist coincided with a period of dramatic change in the artist's life. Not since Gertrude Stein's The Autobiography of Alice B. Toklas has anyone given so intimate a picture of leading modern artists and their circle at work and play, or with such insight and understanding.
The flawless style, highly tuned sensitivity, and incisive wit of The Sorcerer's Apprentice make it one of the most entertaining and captivating memoirs of one of the great periods of artistic activity in this century.
- Sales Rank: #912179 in Books
- Published on: 1999-11-18
- Released on: 1999-11-18
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 1.33" h x 6.47" w x 9.47" l,
- Binding: Hardcover
- 336 pages
Amazon.com Review
Two quotations from Francis Bacon bookend this curious, exasperatedly affectionate memoir by John Richardson, distinguished art historian and 1991 Whitbread Award-winning biographer of Picasso: the prophetic "she'll try to lure you to bed, and then she'll turn on you. She always does," finds its uncanny conclusion in "Didn't I warn you she was a thoroughly treacherous woman?" The sorcerer (art collector Douglas Cooper) and his apprentice (Richardson) lived for 10 years in the grandiose "folly" Château de Castille in Provence, where they entertained a circle that included Pablo Picasso, Jean Cocteau, Angus Wilson, Tennessee Williams, and a range of other usual suspects from that period's artistic fraternity. When Richardson left Cooper for the lights of New York, Cooper, in the great tradition of spurned lovers, burned Richardson's remaining possessions, stole his paintings, denounced him to friends and employers, and even attempted to arrange his arrest by Interpol. Cooper was a duplicitous, sadistic bully (among his more outrageous acts was loudly booing the queen outside Westminster Abbey at her coronation). But his deep knowledge of art history and classical cubism and his pioneering collecting of the works of Picasso, Braque, Léger, and Gris were an essential counterpoint to the staid policy of the Tate Gallery and its director, Sir John Rothenstein, for whom he held a deteriorating scorn. Richardson's delight in reviewing this formative period reignites the fire in Cooper flaring nostrils and borrows some of its flame to stoke what is arguably an enriching addendum to his Picasso magnum opus, which, appropriately, bears a dedication to his old sorcerer. --David Vincent, Amazon.co.uk
From Publishers Weekly
Richardson is the acclaimed biographer of Picasso, so his gossipy, candid memoir of his 12-year affair with cubist art collector Douglas Cooper (1911-1984) and their doings as part of Picasso's inner circle is something of an art-world event. Painter-turned-critic Richardson first became involved with flamboyant art historian Cooper in 1949, when he was 25 and Cooper 38. Together they moved into and restored a dilapidated 16th-century chateau in Provence, filling it with pictures by Klee, L?ger, Mir? and Picasso. In Richardson's withering, occasionally bitter portrayal, CooperAthe mentor who opened up the world of modern art to himAis presented as abusive, vainglorious, vindictive, viciously competitive, a Jekyll/Hyde whose bright, sweet exterior masked a cauldron of envy, resentment and rage. Though Richardson describes their stormy relationship as one held together by a passionately shared experience of works of art, one wonders why they stayed together so long if Cooper was truly so horrible. Through Richardson's eyes, we see Picasso as a protean genius turning out paintings, prints, sculpture and ceramics on a grand scale, but also as an egocentric, misogynistic sadist. One spurned mistress, Dora Maar, sobs over Picasso's brutally anatomic, erotic drawings of her, while another mistress (later his wife), Jacqueline Roque, is pathetically subservient and self-sacrificial, turning to drink for consolation. Splendidly illustrated with 121 photographs and art reproductions, this vivid reminiscence shines with its firsthand glimpses of painters Francis Bacon, Georges Braque, Graham Sutherland, poets W.H. Auden and James Schuyler, art historian/spy Anthony Blunt, Bernard Berenson, Jean Cocteau, Isaiah Berlin and many more. First serial to Vanity Fair. (Dec.)
Copyright 1999 Reed Business Information, Inc.
From Library Journal
In this remarkably candid memoir, the author of the ongoing, acclaimed A Life of Picasso recounts his own life with Douglas Cooper, his mentor in post-World War II France. Richardson was a young man when he met Cooper and became his confidante. Cooper renovated a villa in Castille, which became a social hub; his collection of cubist art was the best private collection in the world, and his opinions were widely sought after. Moreover, Cooper's exotic behavior earned him a favored place in Picasso's court, and Cooper and Richardson's friendship with the artist yielded many treasured gifts. It also gave the author a behind-the-scenes look at the art world and high society. But there was a dark side to Cooper, related by Richardson rather objectively, considering that when Richardson moved to America Cooper burned all his belongings. Perhaps the keenly observed Sorcerer's Apprentice signals a change in future volumes of A Life of Picasso, reflecting first-hand experiences more than secondary sources. Art watchers will revel in this seamless account, and the many illustrations and photographs add a personal touch to a public dialog. Recommended for general as well as specialized collections.
---Ellen Bates, New York
Copyright 1999 Reed Business Information, Inc.
Most helpful customer reviews
17 of 18 people found the following review helpful.
Delicious/Malicious Fun, by fermed
By Fernando Melendez
John Richardson has set aside his scholarly masterpiece (A Life of Picasso: Volumes I & II completed, Volumes III & IV eagerly awaited)to produce something bubbly and light; it is not soda-pop, though, but vintage champagne. Far different from the careful and meticulous research of his Picasso oeuvre, The Sorcerer's Apprentice is a welcome intermission and a clearing of the palate.
Richardson writes about himself and his friends, and especially about his love affair with Douglas Cooper ("The Sorcerer" of the title), art collector, critic and expert on cubism from whom Richardson learned a great deal, both good and bad.The book illuminates not only the relationship between the older, impossible, Cooper and his young apprentice, but also back lights aspects of Picasso, Braque, Lèger and Juan Gris as they are reflected in the tumultuous lives of that odd couple.
The author is an inveterate gossip, as good biographers should be. He likes to tell the little details that deflate or humanize others. He does not have the malice of Capote (although sometimes he comes close), and he is obviously too amiable and forgiving to twist the knife or seek idle revenge.
One cannot be sure about the motives that led to putting out this light froth between the serious stuff; I am glad it is out there, though, and glad I read it. Being taken into Mr. Richardson's confidence and getting to know him will make the enjoyment of his next Picasso volumes all the more intense.
11 of 12 people found the following review helpful.
New and fascinating views of Picasso and cubism.
By Midwest Book Review
Richardson's fine survey of Douglas Cooper, who assembled the world's most important private cubist collection, provides an excellent consideration of both the man and his involvement in the arts and Richardson's personal involvement with Cooper's works. Chapters offer new views of Picasso based on Richardson's friendship with the artist, plus many other unusual insights on artists and works of the times. Highly recommended.
5 of 5 people found the following review helpful.
Astonishing cultural history
By Bradley F. Smith
By Picasso's most distinguished biographer, this memoir of life in Provence in the 1950s with art collector Douglas Cooper mesmerizes with its cast of quirky characters. The inside glimpses of Picasso at work and play are the book's highlight, but one can't underrate other protraits of the arts intelligentsia of the time. Many great candid photos enhance the superbly written text. Why did Richardson stay with Cooper for more than a decade if Cooper, the world's first huge cubist collector, was as horrid a person as portrayed? That's unanswered, and Cooper is long dead and unable to defend himself. Both men, not quite closeted gays in the '40s and '50s, were esteemed companions for some of the era's greatest creatives, so one must temper this acidic portrait with a bit of doubt. Well worth reading even if you haven't looked into the author's Picasso bio, still in progress.
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