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Cit. , p. 14. Ibid. , p. sixteen. “Ce n’est pas d’après nature que je travaille, mais devant los angeles nature, avec elle. ” Cf. E. Tériade, “En causant avec Picasso”, L’Intransigeant, 15 June 1932, (quoted from D. Ashton, op. cit. , p. 18). one other citation in Ashton’s publication (p. 19) reads: “Like the chinese language, the Mexicans, I paintings now not after nature, yet like her. ” J. Golding, Cubism: A background and an research. 1907-1914, p. 88; E. Fry, op. cit. , p. 60 (first released in J Metzinger, “Note sur los angeles peinture”, Pan, October-November 1910, pp. 649-651). W. Rubin, E. L. Johnson, R. Castleman, Picasso within the choice of the Museum of recent paintings, ny, 1972, p. seventy two. R. Rosenblum, “Picasso and the Typography of Cubism”, Picasso looking back, Icon, 1980, pp. 33-47, 183-188 (notes). A. Grishchenko, “Crisis of paintings and glossy Painting”, difficulties of portray, Moscow, 1917, p. eleven (in Russian). E. Fry, “Braque, Cubism and the French Tradition”, Braque: The Papiers Collés, Washington, 1982, p. forty nine. F. Garcia Lorca, op. cit. , p. a hundred (from the lecture “The Poetic photograph of Dons Luis de Góngora”, 1926). F. Gilot, C. Lake, lifestyles with Picasso, big apple, 1965, p. seventy one. A Picasso Anthology: files, feedback, recollections, ed. M. McCully, pp. 82f. B. N. Ternovets: Letters, Diaries, Articles, compilation and commentaries via L. S. Salioshina and N. V. Yavorskaya, Moscow, 1977, p. 118 (in Russian). This has but to be proven conclusively. students have expressed numerous critiques. Beverly Kean (B. W. Kean, all of the Empty Palaces. The service provider buyers of recent artwork in Pre-Revolutionary Russia, 1983, p. 167) dates Shchukin’s first acquisition of a Picasso to 1908, wrongly concluding from Fernande Olivier’s memoirs (F. Olivier, op. cit. , p. 143) that the paintings in query used to be lady with a Fan (After the Ball) of 1908 and never woman with a Fan from 1909. Fernande informs us that Matisse introduced Shchukin to Picasso’s studio. yet within the catalogue Moscow-Paris. 1900-1930, Vol. 1, Moscow, 1981, p. fifty four (in Russian), we learn that Shchukin “became an admirer of the avant-garde from 1906. On Durand-Ruel’s recommendation he obtained a number of work via Picasso. ” 111. 112. 113. 114. a hundred and fifteen. 116. 117. 118. 119. one hundred twenty. 121. 122. 123. 124. a hundred twenty five. 126. 127. 128. 129. one hundred thirty. 131. 132. 133. eventually, the cartoon portrait of Shchukin, comparable to the way in which Fernande Olivier defined him, is within the Zervos catalogue (Z. 22. 298) the place it truly is dated 1905, which turns out incredible. it's noteworthy that during the 1908 assessment of Sergei Shchukin’s assortment (see: P. Muratov, “The Shchukin Gallery”, Russkaya mysl, Vol. eight, 1908, pp. 116-138, in Russian) no point out is but made from Picasso. evidently Fernande Olivier’s testimony might be given the best credence, and one in every of Shchukin’s first acquisitions after assembly Picasso was once woman with keen on 1909. whereas at the topic, we be aware that the 1st of Picasso’s works to be reproduced within the Russian press was once most likely the 1904 etching Frugal Repast (see Apollon, March 1910, representation to the object “Painting, Sculpture and ornamental artwork” through Marius-Arie Leblond). I. Aksionov, op.