“Woody Wednesday” ECCLESIASTES AND WOODY ALLEN’S FILMS: SOLOMON “WOULD GOT ALONG WELL WITH WOODY!” (Part 32 MIDNIGHT IN PARIS Just like Solomon in Ecclesiastes Picasso’s women mostly considered suicide or accepted nihilism )

Just like Solomon in Ecclesiastes Picasso’s women mostly considered suicide or accepted nihilism and  Woody Allen alludes to this in MIDNIGHT IN PARIS when Adriana tells her own story:

GIL PENDER: No, you do! How long have you been dating Picasso?My God, did I just say that?Pardon?I don’t mean to…I didn’t meanto pry…. Were you born in Paris?


ADRIANA: .I…came here to study with Coco Chanel,and I fell in love with Paris,and also,a very dark-eyed, haunted Jewish-Italian painter.And I knew Amedeo had another woman, but still, I couldn’t resist moving into his apartment when he asked,and it was a beautiful six months.

GIL PENDER: M..M…Modigliani?You lived with… You lived with Modigliani?

ADRIANA: You asked me, so I’m telling you my sad story.With Braque, though, there was another woman.Many.And now,with Pablo.I mean, he’s married, but…every day, it’son-again, off-again.I don’t know how any woman can stay with him. He’s so difficult.

GIL PENDER: My God, you take “art groupie” to a whole new level!-


HEMINGWAY:This is Gil Pender, Miss Stein.He’s a young American writer. I thought you two should know each other.

GERTRUDE STEIN:I’m glad you’re here.You can help decide which of usis right, and which of us is wrong.I was just telling Pablo that thisportrait doesn’t capture Adriana.It has a universality,but no objectivity.

PICASSO: Non, non, non. Vous ne le comprenez pas correctement.(No, no ,no. You don’t understand correctly.)Connaisez pas Adriana. Regardez…(You don’t know Adriana. Look…)Regardez le mouvement, le tableau.(Look at the motion, the painting.)C’est exactement ce qu’elle représente!(It’s exactly what she represents!)Non. Tu n’as pas raison.(No. You’rewrong.)

GERTRUDE STEIN: Look how he’s done her:dripping with sexual innuendo,carnal to the point of smoldering,and, yes, she’s beautiful, butit’s a subtle beauty;an implied sensuality.I mean, what is your firstimpression of Adriana?Exceptionally lovely.Belle, mais trop subtile. Plus implicite, Pablo!(Beautiful, but too subtle. More defined, Pablo!)Yes, you’re right, MissStein. ‘Course…uh…you can see why he’slost all objectivity.He’s made a creature of Place Pigalle.A whore with volcanic appetites.Non, non! C’est ce qu’elle vraiment si vous laconnaissez! (No, no! It’s true if you know her!)Yes, avec toi, au privé,(Yes, with you, in private,)because she’s your lover, butwe don’t know her that way!So you make a petit-bourgeois judgmentand turn her into an object of pleasure.- It’s more like a still-life than a portrait. – Non.Non. Non. Je ne suis pasd’accord. (No. No. I do not agree.)And what’s this book of yours I’ve been hearing about? Is this it?-

GIL PENDER: Yeah, this is…uh…-

GERTRUDE STEIN: I’ll take a look.Have you read it, Hemingway?

HEMINGWAY:No, this I leave to you. You’ve always been a fine judge of my work.”

GERTRUDE STEIN:”Out of the Past” was the name of the store,””and its products consisted of memories.””What was prosaic and even vulgar to one generation,””had been transmuted by the mere passing of years””to a status at once magical and also camp.

ADRIANA:I love it.I’m already hooked. Hooked!

GERTRUDE STEIN: I’ll start it tonight,but first, you and I have something to talk about.I’ve been waiting for two months for a reply from that editor.I sent him the piece you andI looked at, plus four others,plus four shorter pieces. And this guy, I gave him a copy of the…- Nevertheless, two months: nary a word.-

GIL PENDER: Right.So were you really hooked with those opening lines?

ADRIANA: Oh, the past has always had a great charisma for me.Oh, me, too. Great charisma for me.I always say that I was born too late.Mmm. Moi aussi. (Mmm. Me, too.)For me, la Belle ÉpoqueParis would have been perfect.-

GIL PENDER: Really? Better than now?-

ADRIANA: Yes.Another whole sensibility,the street lamps, the kiosques,the…horse and carriages,and Maxim’s then.

GIL PENDER:You speak very good English.-

ADRIANA:No, not really.-

GIL PENDER: No, you do! How long have you been dating Picasso?My God, did I just say that?Pardon?I don’t mean to…I didn’t mean to pry…. Were you born in Paris?

ADRIANA:I was born in Bordeaux.I moved here to study fashion.But you don’t want to hear all this.

GIL PENDER: Yes, I do.Yes, continue.You moved here to study fashion..

ADRIANA: .I…came here to study with Coco Chanel,and I fell in love with Paris,and also,a very dark-eyed, haunted Jewish-Italian painter.And I knew Amedeo had another woman, but still, I couldn’t resist moving into his apartment when he asked,and it was a beautiful six months.

GIL PENDER: M..M…Modigliani?You lived with… Youlived with Modigliani?

ADRIANA: You asked me, so I’mtelling you my sad story.With Braque, though,there was another woman.Many.And now,with Pablo.I mean, he’s married, but…every day, it’son-again, off-again.I don’t know how any woman canstay with him. He’s so difficult.

GIL PENDER: My God, you take “art groupie” to a whole new level!-


GIL PENDER: Nothing. I was just saying that…

ADRIANA: But tell me about yourself.-

GIL PENDER: What? Well, what can I say…-

ADRIANA: So, have you come to Paris to write?Because, you know,these days, so many Americansfeel the need to move here.Isn’t Hemingway attractive?I love his writing.

GIL PENDER: I know. Actually, I’m just here visiting.

ADRIANA: Oh, you must stay here.-

GIL PENDER:  Really?-

ADRIANA: Yeah. It’s a wonderful city, for- writers, artists.-

GIL PENDER: M I know. I’d like to, but it’s not that easy.

ADRIANA: And,I didn’t fall in love madly with your book…-

GIL PENDER: Really?-

ADRIANA: …so I want to hear the rest of it.-

GIL PENDER: You really like? Because I’m still kind of tinkering…

HEMINGWAY: – Pender?-


HEMINGWAY: let’s go up to Montmartre. Let’s get a drink, OK?

GIL PENDER: – Uh…yeah.

GERTRUDE STEIN: I’ll discuss your book with you as soon as I’ve finished it. Where can I reach you?

GIL PENDER: Why don’t I drop back by, instead of you trying to find me, if that’s all right?-

GERTRUDE STEIN: We run an open house.-

HEMINGWAY: Are you coming with us?

GIL PENDER: I wish that I could. I cant, but hopefully I’ll see you again eventually.

ADRIANA: That would be nice.-

HEMINGWAY: Let’s go!- One of these days, I plan to steal you away from this genius who’s great, but he’s no Joan Miró

Pablo Picasso: women are either goddesses or doormats


'Nude Woman in a Red Armchair' by Pablo Picasso, on display at Tate Britain in 2012
‘Nude Woman in a Red Armchair’ by Pablo Picasso, on display at Tate Britain in 2012CREDIT: REX FEATURES

Pablo Picasso, who was born on October 25, 1881, died on April 8, 1973, aged 91. The artist had a complicated relationship with women. This article by Mark Hudson was first published in 2009 to mark the National Gallery exhibition ‘Picasso: Challenging the Past’.


“Women are machines for suffering,” Picasso told his mistress Françoise Gilot in 1943. Indeed, as they embarked on their nine-year affair, the 61-year-old artist warned the 21-year-old student: “For me there are only two kinds of women, goddesses and doormats”.

From Rembrandt and Goya to Bonnard and Stanley Spencer, male artists have drawn obsessively and immensely productively on the faces and bodies of their wives and lovers. But no one used and abused his women quite like the greatest artist of the 20th century, Pablo Picasso.

Looking at the extraordinary images in a new Picasso exhibition that opens later this month at the National Gallery in London, you feel that Picasso eviscerates his women in the service of his art. Here, alongside images of exquisite tenderness, are women pulled and gouged into tortured shapes, women cut in bits and reconfigured on the canvas. Yet harrowing as these images are, they are nothing beside the real life dramas that led to their creation.

Of the seven most important women in Picasso’s life, two killed themselves and two went mad. Another died of natural causes only four years into their relationship. Yet while Picasso had affairs with dozens, perhaps hundreds of women, and was true to none of them – except possibly the last – each of these seven women shines out as a crucial catalyst in his development as an artist. Each stands for a different period in his career, representing a complementary or opposing ideal that inspired the evolution of a new visual language. Just as they became obsessively involved with him, so he was dependent on them.

'Portrait of Dora Maar' by Pablo Picasso
‘Portrait of Dora Maar’ by Pablo Picasso CREDIT: REX FEATURES


Loyal, generous and affectionate when it suited him, Picasso could be astoundingly brutal, to friends, lovers, even complete strangers. Yet he felt real, often anguished passion for each of these women – a passion he explored in tens of thousands of paintings, drawings and prints, in which he attempted to capture not just the way these women looked, but the totality of his feelings towards them.  Fernande Olivier, the first great love of the Spanish artist’s life whom he met in 1904, was far from a pushover.

Incorrigibly lazy and promiscuous, but with a lively and independent mind, this statuesque redhead was a popular artist’s model, a kind of “it” girl of the Parisian avant-garde. To the young Picasso, who had arrived in Paris from Barcelona only two years before – and whose experience of women was limited largely to prostitutes and the pious Catholic women who raised him – Olivier must have seemed an intoxicating challenge.

Physically obsessed with her languid, bemused presence, Picasso moved from the poetic romanticism of his Rose Period to a new way of working inspired both by the dynamism of modern Paris and by the enduring values of Mediterranean culture on which he was to draw all his life.

In 1906, Olivier accompanied him to the village of Gosol in the Spanish Pyrenees, where the cubistic traditional architecture and her strong, sensual features were endlessly analysed in a vast body of drawings that led to the most influential painting of the 20th century – Demoiselles d’Avignon.  As Picasso worked on this definitive canvas in the suffocating heat of his Montmartre studio, he was consumed with jealousy and anger towards Olivier who had temporarily walked out on him – this emotional violence feeding into a work that blasted the Renaissance idea of fixed perspective out of the window and changed the course of Western art.

Pablo Picasso


When Olivier took up with a minor Italian artist in 1912 in an attempt to pique his jealousy, Picasso began seeing her close friend, Eva Gouel, the most elusive of the seven women. Frail and slender, she appears in only two photographs and her personality remains an enigma.

Picasso’s time with her coincided with the moment of synthetic cubism, in which observational elements were synthesised into semi-abstract compositions, often including collage or text. While Picasso never painted Gouel, he paid homage to her in several of these paintings, by including the words Ma Jolie – my pretty one – which is perhaps the most overtly affectionate artistic gesture he made to any of his women.

See our gallery of unknown Picasso paintings

While he was apparently devastated by her death from tuberculosis in 1916, this didn’t stop him carrying on a simultaneous affair with one Gaby Depeyre.  Picasso’s marriage to the Russian dancer Olga Khokhlova in 1915 coincided with a complete reversal in his artistic direction – from world-changing abstraction to relatively conservative neoclassicism. His portraits of Khokhlova have a restraint and serenity inspired by the 19th-century master Jean Auguste Dominique Ingres.

Yet just as Picasso’s artistic restlessness couldn’t be contained for more than a few hours, so the desire of the socially ambitious Khokhlova to tame the now wealthy artist soon began to suffocate him. As their relationship disintegrated and she became increasingly delusional, his depictions of her and women in general grew ever more hateful – tortured masses of teeth, limbs and vaginas.

Jacqueline and Pablo Picasso at a bullfight in France in 1954
Jacqueline and Pablo Picasso at a bullfight in France in 1954 CREDIT: REX FEATURES


While Picasso’s sense that he could do what he liked with absolutely anyone increased as his fame and wealth grew, he stayed with Khokhlova out of a residual desire for bourgeois respectability and the deeply ingrained Spanish idea that however unfaithful, a man doesn’t leave his wife.

Picasso kept his relationship with the youthful Marie-Thérèse Walter – just 17 when he met her – secret from Khokhlova for eight years. Blonde, of equable temperament and athletic physique – but completely ignorant of art – Walter was immortalised in images of melting, idyllic eroticism in which we feel her guiltless enjoyment of her own sensuality and the artist’s complete satisfaction in regarding it.

If Walter offered Picasso little on an intellectual level, his next great muse was the one who came closest to challenging him on his own terms – an artist and photographer closely involved with the Surrealists. He first encountered the mesmerising, raven-haired Dora Maar across the tables of the Café aux Deux Magots, stabbing a knife between her fingers till she drew blood.

Picasso asked to keep her bloodstained gloves. When Maar and Walter later met in his studio, the ensuing argument degenerated into an all-out catfight between the two women, an incident Picasso later described as one of his “choicest memories”.

Maar was Picasso’s partner during the period of his greatest political engagement, her inner turmoil standing in for Spain’s agony during the Civil War in Tate’s iconic Crying Woman. She made a photographic record of Picasso’s work on the monumental masterpiece Guernica, and her unmistakable features appear in the banshee-like head swooping into the painting. But in Picasso’s most telling images of Maar, her features are disturbingly reconfigured – growing out of each other in all the wrong places – as though she is literally breaking down in front of us.

When Picasso threw her over for the much younger Françoise Gilot in 1943, Maar suffered a complete mental collapse, followed by nun-like seclusion.  “After Picasso,” she famously declared, “only God.” Lest it should be thought that Picasso had things entirely his own way, the case of Gilot is instructive. This young aspiring artist – just 21 when they met – seems to have handled Picasso’s cruelties and perversities with amazing deftness, and was the only woman to leave him entirely voluntarily, with her dignity more or less intact. She bore him two children, with whom they lived a relatively normal family life for nine years.

Jacqueline Roque 
Picasso’s painting of Jacqueline Roque CREDIT: REX FEATURES


But was this domestic stability good for Picasso’s art?

While he captured Gilot’s features in a series of radiant drawings and etchings, this was the period of his greatest fame, when his millionaire life on the Cote d’Azur was cut off from external reality, and it was all too easy for the artist to “play Picasso” in art and life.  The last of Picasso’s great loves was, on the face of it, the one most in control. Picasso created more than 400 portraits of the demure Jacqueline Roque, who he married in 1961.

The most memorable imbue her sharp features with a watchful, almost classical stillness that harks back to his Blue period paintings of nearly 70 years before. Roque, you feel, was the one who finally got Picasso to behave, and created a tranquil base for his last years.  Yet even her story ended in tragedy. In 1986 she killed herself, 13 years after Picasso’s death. Like the other six women, she had collaborated in what is arguably the greatest artistic oeuvre of all time. Whether it was worth the pain, only she would be able to say.

Picasso's muses: Fernande Olivier (clockwise from top left), Olga Khoklova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot and Jacqueline Roque
Picasso’s muses: Fernande Olivier (clockwise from top left), Olga Khoklova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot and Jacqueline Roque



Picasso’s female muses


Fernande Olivier  (1881-1966; with Picasso 1904-1911)  

After an abusive childhood and a violent teenage marriage, Olivier escaped into Paris’s bohemia, and took up with Picasso during his most revolutionary phase – though she never saw the point of cubism. Picasso failed to suppress her lively memoir Picasso et ses Amis, but paid her a small pension provided the second volume didn’t appear till after his death.

Eva Gouel  (1885-1915; with Picasso 1911-1915)  

Born as Marcelle Humbert, she was the girlfriend of fellow artist Louis Marcoussis when Picasso became involved with her in 1911. Little is known of the frail Eva. While Picasso later claimed he knew greater contentment with her than anyone else, he carried on an affair as Eva lay dying of tuberculosis in 1915.

Olga Khokhlova  (1891-1954; with Picasso 1917-1935)  

Picasso’s Ukrainian first wife, and the mother of his eldest child Paulo, was a dancer with Diaghilev’s Ballets Russes, and one of the few people of either sex to stand up to the artist. After their separation in 1935, she bombarded him with hate mail. But since Picasso refused to divide his assets with her, as required by French law, they never divorced.

Marie-Thérèse Walter  (1909-1977; with Picasso 1927-1936)  

Picasso met the blonde 17 year-old outside the Galeries Lafayette department store in Paris in 1927, but kept their affair secret for eight years. She gave him a daughter, Maia, in 1935, at about the time she was supplanted in Picasso’s affections by Dora Maar. She hanged herself in 1977.

Dora Maar  (1907-1997; with Picasso 1936-1944)

Born Henriette Theodora Markovitch, of Croatian and French descent. A talented artist and photographer, this Surrealist icon – powerfully portrayed by Man Ray – had a tragic air, caused, Picasso believed, by her inability to have children. She ended her days surrounded by dust-encrusted relics of her time with Picasso.

Françoise Gilot  (b.1921; with Picasso 1944-1953)  

This level-headed law student abandoned her studies in favour of art and began an affair with Picasso at 21. She gave him two children, Claude and Paloma, and recalled their nine-year relationship in the best-selling Life with Picasso. Later married to American vaccine pioneer Jonas Salk, she still paints.

 Jacqueline Roque  (1927-1986; with Picasso 1954-1993)

A sales assistant in the Madoura Pottery Studio in Vallauris, where Picasso created his ceramics, Jacqueline met Picasso in 1954, when she was 27, and became his second wife in 1961. While she quarrelled with his children over the division of his estate, they collaborated in the creation of the Musée Picasso. She shot herself in 1986.

See: Picasso’s palettes were a work of art

Q&A: John Richardson on Picasso’s “Uncontrollable” Sex Drive

APRIL 5, 2011 12:00 AM

Speaking of Picasso’s vampiric quality, SEVERAL OF HIS WOMEN CAME TO UNFORTUNATE ENDS—his first wife, Olga, would sometimes need to be institutionalized, and both Marie-Thérèse and Jacqueline, his second wife, committed suicide. Was it due in part to the draining emotional toll of their relationships with Picasso?

Totally. I think he obsessed them. Dora Maar did not commit suicide but, after being cooped up with Picasso for most of World War II, suffered a total nervous collapse. Both Marie-Thérèse and Jacqueline were evidently prepared to sacrifice themselves on the altar of his art.

As you’ve written, for all his tenderness, Picasso could be quite cruel to the women in his life.

He could on occasion be cruel; bear in mind, however, that whatever you say about Picasso, the reverse is also apt to be true. In life, as in art, he could be one of the kindest and one of the unkindest people I have ever known. And then remember that whereas Dora was masochistic by nature, Marie-Thérèse was submissive, and throughout her relationship with Picasso she did what she was told. And because she was insanely in love with him, she was happy to do so. Her rival, Dora, was more sophisticated. She had lived previously with Georges Bataille, a great thinker and a disciple of the Marquis de Sade. Like most of the Surrealist women, she knew what she was in for. Remember too, that Man Ray, the greatest of Surrealist photographers, was a close friend of Picasso’s. I didn’t realize how close until a friend discovered that the painting that fetched $106 million last year [Nude, Green Leaves and Bust] was in fact based on a bondage photograph taken by Man Ray. In the catalogue of our Marie-Thérèse show, we’re placing the photograph and the painting side by side.

Man Ray photograph of  -paul eluard and picasso in 1936

Tom Cordier as Man Ray with Oscar Winner Adrian Brody as Salvador Dali


Not to be too crude about it, but do you think that, in terms of the sheer number of his conquests, he was on par with, say, a Warren Beatty or Wilt Chamberlain?

I think it would be rash to speculate about that, but we have to take into account how different life was a century ago, when Picasso was coming of age. He was brought up in Spain, where there was a whole brothel culture. In Malaga, where he grew up, his father was famous for going to the brothels. It was kind of a feather in his cap. The men would go to Mass on Sunday, and afterward they’d all go to the brothel. Then they’d go to the café, where they’d drink and discuss politics, sports, and sex—whether the new brunette in the whorehouse was better than the old one, for instance.

This was acceptable for people in that social class? Church and then the brothel?

Absolutely. It was standard in the south of Spain—standard. Picasso was going to brothels by the age of 13. It was an accepted part of Spanish and French culture in the first half of the 20th century.

When you knew Picasso, in the 1950s and 60s, was he still on the prowl, despite being in his late 70s and early 80s?

Oh, yes. He was uncontrollably horny. I’ll give you an example of a very naughty thing he did: he made gold figurines of a little man with a huge phallus, like the ones they sell in the back streets of Naples. And he would give them to women he had seduced or was trying to seduce—right in front of Jacqueline, his wife. He’d give the woman one of these gold figures, and immediately everyone knew what was going on, and the result was that that woman would never be allowed back into the house.

In the film MIDNIGHT IN PARIS Gertrude Stein tells Gil Pender what she thinks about his book, “Now, about your book,it’s very unusual, indeed.I mean, in a way, it’s almost like science fiction.We all fear death, and question our place in the universe.The artist’s job is not to succumb to despair,but to find an antidote for the emptiness of existence.You have a clear and lively voice. Don’t be such a defeatist.”

Three thousand years ago, Solomon took a look at life “under the sun” in his book of Ecclesiastes. Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.”


Let me show you some inescapable conclusions if you choose to live without God in the picture. Solomon came to these same conclusions when he looked at life “under the sun.”

  1. Death is the great equalizer (Eccl 3:20, “All go to the same place; all come from dust, and to dust all return.”)
  2. Chance and time have determined the past, and they will determine the future.  (Ecclesiastes 9:11-13 “I have seen something else under the sun:  The race is not to the swift
    or the battle to the strong, nor does food come to the wise
    or wealth to the brilliant  or favor to the learned; but time and chance happen to them all.  Moreover, no one knows when their hour will come: As fish are caught in a cruel net,
    or birds are taken in a snare, so people are trapped by evil times  that fall unexpectedly upon them.”)


Francis Schaeffer comments on the Book of Ecclesiastes and the subject of death:

Ecclesiastes 9:11

11 Again I saw that under the sun the race is not to the swift, nor the battle to the strong, nor bread to the wise, nor riches to the intelligent, nor favor to those with knowledge, but time and chance happen to them all.

Chance rules. If a man starts out only from himself and works outward it must eventually if he is consistent seem so that only chance rules and naturally in such a setting you can not expect him to have anything else but finally a hate of life.

Ecclesiastes 2:17-18a

17 So I hated life, because what is done under the sun was grievous to me, for all is vanity and a striving after wind. 18 I hated all my toil in which I toil under the sun…

That first great cry “So I hated life.” Naturally if you hate life you long for death and you find him saying this in Ecclesiastes 4:2-3:

And I thought the dead who are already dead more fortunate than the living who are still alive. But better than both is he who has not yet been and has not seen the evil deeds that are done under the sun.

He lays down an order. It is best never have to been. It is better to be dead, and worse to be alive. But like all men and one could think of the face of Vincent Van Gogh in his final paintings as he came to hate life and you watch something die in his self portraits, the dilemma is double because as one is consistent and one sees life as a game of chance, one must come in a way to hate life. Yet at the same time men never get beyond the fear to die. 


By the way, the final chapter of Ecclesiastes finishes with Solomon emphasizing that serving God is the only proper response of man. Solomon looks above the sun and brings God back into the picture.  I am hoping that Woody Allen will also come to that same conclusion that Solomon came to concerning the meaning of life and man’s proper place in the universe in Ecclesiastes 12:13-14:
13 Now all has been heard;
here is the conclusion of the matter:
Fear God and keep his commandments,
for this is the whole duty of man.

14 For God will bring every deed into judgment,
including every hidden thing,
whether it is good or evil

Picasso’s Widow, 60, Kills Herself at Chateau on Riviera, Police Say

October 16, 1986|United Press International

CANNES, France — Jacqueline Picasso, the widow of Pablo Picasso, committed suicide Wednesday at the chateau on the French Riviera where the giant of modern art died in 1973, police said.

Picasso, 60, was found dead in her bed at 9 a.m. by her maid. An automatic pistol was at her side. Police said the single gunshot wound to the head appeared to have been self-inflicted.

The death occurred at Notre Dame de Vie, French for Our Lady of Life, a medieval mountaintop castle at Mougins, a village overlooking Cannes. She and Picasso lived there until his death in April 8, 1973, at age 92. The castle is virtually a museum filled with some of Picasso’s greatest works.

Stormy Relationship

Jacqueline Picasso was the painter’s second wife, and though their relationship was often stormy, with separations and reconciliations, she remained loyal to him until the end.

Friends said Jacqueline never was able to get over her grief after the death of the Spanish-born Picasso, who in 60 years created about 10,000 paintings and other artworks.

She first came to know the painter as his model in 1953 when she was a 28-year-old divorcee and Picasso was 72. His first wife, Russian ballerina Olga Khokhlova, died in 1955, and he married Jacqueline Roque in 1961.

A doctor said “the state of her health was very serious,” police reported. The nature of her illness was not disclosed.

Her depression was said to have increased in recent months, and she reportedly confided to a close friend recently that she intended to commit suicide because “I would prefer to die than to continue like this.”

‘He Lives Always’

Jacqueline Picasso once told a photographer: “I am not the widow of Picasso. He lives always.”

She spent her last years organizing exhibitions of his work for worldwide tours. A Picasso retrospective she was planning is scheduled to open in Madrid on Oct. 25.

Her body will be buried alongside her husband at the Chateau de Vauvenargues, near Aix-en-Provence in southern France.

This series deals with the Book of Ecclesiastes and Woody Allen films.  The first post  dealt with MAGIC IN THE MOONLIGHT and it dealt with the fact that in the Book of Ecclesiastes Solomon does contend like Hobbes  and Stanley that life is “nasty, brutish and short” and as a result has no meaning UNDER THE SUN.

The movie MIDNIGHT IN PARIS offers many of the same themes we see in Ecclesiastes. The second post looked at the question: WAS THERE EVER A GOLDEN AGE AND DID THE MOST TALENTED UNIVERSAL MEN OF THAT TIME FIND TRUE SATISFACTION DURING IT?

In the third post in this series we discover in Ecclesiastes that man UNDER THE SUN finds himself caught in the never ending cycle of birth and death. The SURREALISTS make a leap into the area of nonreason in order to get out of this cycle and that is why the scene in MIDNIGHT IN PARIS with Salvador Dali, Man Ray, and Luis Bunuel works so well!!!! These surrealists look to the area of their dreams to find a meaning for their lives and their break with reality is  only because they know that they can’t find a rational meaning in life without God in the picture.

The fourth post looks at the solution of WINE, WOMEN AND SONG and the fifth and sixth posts look at the solution T.S.Eliot found in the Christian Faith and how he left his fragmented message of pessimism behind. In the seventh post the SURREALISTS say that time and chance is all we have but how can that explain love or art and the hunger for God? The eighth  post looks at the subject of DEATH both in Ecclesiastes and MIDNIGHT IN PARIS. In the ninth post we look at the nihilistic worldview of Woody Allen and why he keeps putting suicides into his films.

In the tenth post I show how Woody Allen pokes fun at the brilliant thinkers of this world and how King Solomon did the same thing 3000 years ago. In the eleventh post I point out how many of Woody Allen’s liberal political views come a lack of understanding of the sinful nature of man and where it originated. In the twelfth post I look at the mannishness of man and vacuum in his heart that can only be satisfied by a relationship with God.

In the thirteenth post we look at the life of Ernest Hemingway as pictured in MIDNIGHT AND PARIS and relate it to the change of outlook he had on life as the years passed. In the fourteenth post we look at Hemingway’s idea of Paris being a movable  feast. The fifteenth and sixteenth posts both compare Hemingway’s statement, “Happiness in intelligent people is the rarest thing I know…”  with Ecclesiastes 2:18 “For in much wisdom is much vexation, and he who increases knowledge increases sorrow.” The seventeenth post looks at these words Woody Allen put into Hemingway’s mouth,  “We fear death because we feel that we haven’t loved well enough or loved at all.”

In MIDNIGHT IN PARIS Hemingway and Gil Pender talk about their literary idol Mark Twain and the eighteenth post is summed up nicely by Kris Hemphill‘swords, “Both Twain and [King Solomon in the Book of Ecclesiastes] voice questions our souls long to have answered: Where does one find enduring meaning, life purpose, and sustainable joy, and why do so few seem to find it? The nineteenth post looks at the tension felt both in the life of Gil Pender (written by Woody Allen) in the movie MIDNIGHT IN PARIS and in Mark Twain’s life and that is when an atheist says he wants to scoff at the idea THAT WE WERE PUT HERE FOR A PURPOSE but he must stay face the reality of  Ecclesiastes 3:11 that says “God has planted eternity in the heart of men…” and  THAT CHANGES EVERYTHING! Therefore, the secular view that there is no such thing as love or purpose looks implausible. The twentieth post examines how Mark Twain discovered just like King Solomon in the Book of Ecclesiastes that there is no explanation  for the suffering and injustice that occurs in life UNDER THE SUN. Solomon actually brought God back into the picture in the last chapter and he looked  ABOVE THE SUN for the books to be balanced and for the tears to be wiped away.

The twenty-first post looks at the words of King Solomon, Woody Allen and Mark Twain that without God in the picture our lives UNDER THE SUN will accomplish nothing that lasts. The twenty-second post looks at King Solomon’s experiment 3000 years that proved that luxuries can’t bring satisfaction to one’s life but we have seen this proven over and over through the ages. Mark Twain lampooned the rich in his book “The Gilded Age” and he discussed  get rich quick fever, but Sam Clemens loved money and the comfort and luxuries it could buy. Likewise Scott Fitzgerald  was very successful in the 1920’s after his publication of THE GREAT GATSBY and lived a lavish lifestyle until his death in 1940 as a result of alcoholism.

In the twenty-third post we look at Mark Twain’s statement that people should either commit suicide or stay drunk if they are “demonstrably wise” and want to “keep their reasoning faculties.” We actually see this play out in the film MIDNIGHT IN PARIS with the character Zelda Fitzgerald. In the twenty-fourth, twenty-fifth and twenty-sixth posts I look at Mark Twain and the issue of racism. In MIDNIGHT IN PARIS we see the difference between the attitudes concerning race in 1925 Paris and the rest of the world.

The twenty-seventh and twenty-eighth posts are summing up Mark Twain. In the 29th post we ask did MIDNIGHT IN PARIS accurately portray Hemingway’s personality and outlook on life? and in the 30th post the life and views of Hemingway are summed up.

In the 31st post we will observe that just like Solomon Picasso slept with many women. Solomon actually slept with  over 1000 women ( Eccl 2:8, I Kings 11:3), and both men ended their lives bitter against all women and in the 32nd post we look at what happened to these former lovers of Picasso. In the 33rd post we see that Picasso  deliberately painted his secular  worldview of fragmentation on his canvas but he could not live with the loss of humanness and he reverted back at crucial points and painted those he loved with all his genius and with all their humanness!!! In the 34th post  we notice that both Solomon in Ecclesiastes and Picasso in his painting had an obsession with the issue of their impending death!!!

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