||pt. I. The World Fair and arrivals. The arrival of Picasso ; In Montmartre ; Models and motifs ; The picture sellers ; Blue notes ; The impact of van Gogh ; Poiret : art and design ; Reconstructions ... and ruin ; At the Académie Humbert ; The first Salon d'Automne -- pt. II. The Rose Period. The Bateau-Lavoir ; Anarchy and the joy of life ; Fernande; and the Lapin Agile ; New searches for Arcadia : enter the Steins ; In Collioure ; At the circus ; Wild beasts ; New tensions, new opportunities ; Picasso and Gertrude Stein ; Immaculate Modigliani ; The north and south poles of modern art : Picasso and Matisse ; Sculptures, carvings, icons ; New expectations -- pt. III. Carvings, private lives, "wives". Picasso and Matisse : the two-man race ; Raymonde ; Motion pictures ; Alice B. Toklas ; The French lessons ; The Demoiselles unveiled ; New liaisons ; The whole story ; Festivities, prospects, tragedy ; Rousseau's party -- pt. IV. Street life. Modern dance ; Summertime ; New directions ; Flight ; Exoticism ; The interior life ; "Art" ; Endings.
||When young Pablo Picasso arrived in Paris in October 1900 he made his way up the hillside of Montmartre ... The real revolution in the arts first took place not, as is commonly supposed, in the 1920s to the accompaniment of the Charleston, black jazz and mint juleps but more quietly and intimately, in the shadow of the windmills--artificial and real--and in the cafes and cabarets of Montmartre during the first decade of the century. The cross-fertilization of painting, writing, music and dance produced a panorama of activity characterized by the early works of Picasso, Braque, Matisse, Derain, Vlaminck and Modigliani, the appearance of the Ballets Russes and the salons of Gertrude Stein. In In Montmartre, Sue Roe vividly brings to life the bohemian world of art in Paris between 1900-1910.
|General note||Previously published: London : Fig Tree, |
|Bibliography note||Includes bibliographical references (pages 339-347) and index.|