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Description: Farewell to an Idea: Episodes from a History of Modernism
Some time in late summer 1912 Picasso took a photograph (fig. 94) at the front door of the villa he had rented for the season at Sorgues. We know that Braque had brought down the “machine à photographie” specially from Paris a week or so before. The picture records the main paintings Picasso had done over the previous two months. On the doorstep, from left to right, are perched the imposing Portrait of a Man, which in time got called the Aficionado (fig. 95), the equally grand …
PublisherYale University Press
Related print edition pages: pp.169-223

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