Picasso's Illustrations for Iliazd in Context

Home , Jacqueline (painting), Max Jacob, Pierre Reverdy, Skira (publisher)

Mary E. Murray

The French twentieth-century livre de peilltre (or livre illustration of more traditional pre•twentieth-century litera d'arrisre as it is also called) has a celebrated history and most ture. Picasso's illustrations for Vollard's 1931 edition of of the preeminent Modernists produoed original lithographs, Bal,.ac's Le Chefd'oeuvre i11co1111u are his best known of intaglios, or woodcuts for these deluxe, limited-edition the genre. 11 The book provides a veritable visual feast. Six books. 1 Few however, pursued the genre as tenaciously as. teen pages of wooMax Jacob' and Andre Salmon• increased Picasso's friends and colleagues wrote memoirs of their sales and helped to defray publication expenses. In the associations with the great old master;"' Fernand Mourlot 1930s and '40s Picasso was closely aligned with the Surreal• and Georges Bloch" continued compiling catalogues rai ists.• Tristan Tzara, Georges Hugnet, Paul Eluard, and sonni:s of his graphic work; !llllleries celebrating the artist's Andre Breton are among those for whom he illustrated. In 75th and 80th birthdays issued catalogues." And for the 1948 Picasso illustrated Pierre Reverdy's Cham des morrs. '° deluxe editions of all such books Picasso supplied an orig• Picasso found the visual component of Reverdy's auto• inal print. graph manuscript so compelling, he felt he had little to add 1/iazd and Cubo-Fururism. If the name Picasso is uni by way of traditional illustration. Therefore, Picasso used ,.:rsally recognized. that of lliazd. conversely, may be un• abstract designs to illuminate- as in the maimer of a known to all but a small contingent of bibliophiles and medieval manuscript- the border surrounding the author's print scholars. He was born in Tillis, Russian Georgia, in handwriting. These bold red lithographic marks-charged 1894, and his extraordinarily fertile mind directed his pur with associations of passion and blood- were an inspired suits in biography, drama, poetry, literary and architectural c-hoice for this collection of poems describing the author's history, and typography, as well as publishing. In his youth, suffering and hope at the end of the Second World War. lliazd was an important participant in the Russian Cubo By the 1930s Picasso was internationally famous. and Futurist movement, which flourished in the second decade with that status a second category of projects emerged, the of this century. Cubo-Futurism is an umbrella title for 53 collectives of young artists and writers who sought 10 over space. This acute sensitivity was named 04inter1ettrage" by throw what they considered 10 be the oppressive decadence Louis Barner, director of L' lmprimcrie Union.» of late nineteenth- and early twentieth-<:entury Symbolism." Insofar as illustrations are concerned, lliazcl dictated They issued books, but unlike the beautiful rare object of the size and medium, usually intaglio, because he preferred the French livre d'artiste, these publications- often anthologies "cenitude du cuivre, surface close surface obcie."-" The of poems and essays- were made with purposefully chosen images are but one component of each book's highly organ cheap materials, such as wall or wrapping paper, and were ized whole, never to take precedence. One will never find printed with rubber stamp or autograph lithography." The reproduced drawings or insened prints, portfolio style. handmade appearance of these works proclaimed their lliazd's publications also promote anists, writers, and craftedness and their liberation from overused conventions. scientists whose vision and Modernity (regardless of their Here the distinction between visual and literary arts blurs, historical period) had gone unrecognized. Paradoxically, because many writers were trained in art schools and vice llia,.d's overriding presence in his books usurps that agenda, versa.25 and fascination in his books as objects often eclipses their In the late 'teens and early 'twenties, lliaul published subject ma11er. Equally paradoxical is the fact that, while his pentalogy of dras, plays wrillen in zawn, a trans his self-proclaimed mission was 10 disseminate information rational language that he and his contemporaries devel about the unknown, overlooked and forgotten, his editions oped." The visual component of these books does not rely rarely reached 100 copies." on images, as with many of the other Russian Futurist Picasso-lliazd. Three of the nine books which Picasso publications. Instead, lliazd revolutionized the art of set illustrated for lliazd will be considered here. These three-au ting type. His final play, le Dentu as a Beacon, 1923, published in the l950s- havc been isolated because they employs a seemingly infinite number of typefaces and represent extended panicipation on Picasso's pan, as well as ornaments which are unusually disposed to create an ener a moment of maturity and synthesis of lliazd's aesthetic." getic, variegated pa11em." By publishing LA Maigre» in 1952 lliazd resurrected lliazd arrived in Paris in 1921 and established himself the ribald literature of Adrian de Monluc, a confidante of as secretary of the Union des artistes Russes i, Paris. In his Louis XIII." In fact, it was the intimacy that the king and new home he was instrumental in organizing Dadaist bats counier shared which led to the latter's seven-year impri and soirees.28 Picasso's associations with the avant-garde sonment in the Bastille at the hands of Cardinal Richelieu. literati, as well as his work for the Ballets Russes, and his Written in 1630, LA Maigre marked for lliazd the "last marriage to the Russian ballerina Olga Koklova, gave him manifestation of verbal independence before the restraining access to these circles, and he and lliazd became lifelong influence of the Academic Fra~aise."" friends.29 The rigorous symmetry of lliazd's ABCBCBCBA lliaztl~ Books. /940-1974. Just as painting itself be format has prompted Barnier 10 label La Maigre the comes the subject of Modern painting, lliazd's books pub apogee of lliaw·s classicism (Figure I).'° That he fit a very lished after 1940-with their allention to materials, the unclassical text into so regular a framework is representa mysteriousness of unwrapping, unfolding, entering into and tive of the balance of polar elements lliazd maintained in all exiting a text-examine both the object-ness and the pro his books. cess of experiencing a book. With the bricks and mortar of The title refers to an excruciatingly thin woman who, paper. typeface, and illustraiions, llia,.d consiructcd his nevertheless, boasts of her beauty and vinue. With scathing books with very specific ideas about how each of these ele barbs of mockery, the narrator describes her harsh voice, ments functioned in the overall architecture."' hard bones, and creaking joints. He advises her to walk in As if he were uncovering a rare, buried treasure, the shade in hot weather (or, perhaps, in seasons of lliazd's reader must proceed through stiff parchment wrap passion- Monlue's wordplay was one of his most a11ractivc pers, and leaf through textured. heavy, earth-toned papers attributes to llia,.d) lest her "corps si combustible" go up in before he reaches the smooth Japan or China papers on name. which text and illustration are printed. That these fine Picasso's drypoints play brilliantly with the text. While pages arc often a smaller size than their endpapers further the images do not exactly reproduce scenes from the story, distinguishes this interior sanctum. In at least three of the they closely follow its spirit. The heraldic coat of arms books on which Picasso worked, these pages are also folded printed on the parchment cover, as well as the representa in untraditional fashion." Reading, then, requires active tions of knights locate the action in a counly, chivalrous era participation. To leave the book, the reader must exit (Figures 2 and 3). through a similar process of refolding and leafing. Most effective are Picasso's impressions of LA Maigre lliazd's apprenticeship to a Georgian typographer in herself. Picasso's sharp drypoint line brutally conjures up his youth engendered in him a lifelong respect for the craft the spindly, unembraceable figure who spurns all things and art of selling type. Recall that, in his early dra publica sensual, and who, in turn, is spurned (Figure 4). tions, lliazd created movement and texture on the page by Chevaux de Minuit,'' 1956, is lliazd's tribute to Roch incorporating a variety of typefaces and devices. By 1952, Grey, pseudonym of the Baroness Helene d'Octtingen," he adopted the then-modern and neutral Gill majuscule who dedicated this epic poem to horsemen and women of a sans-serif face for all of his books, thereby challenging him romantic past. The illustrated pages of this book form a self to create interest by limiting the means to do so." lliazd triptych: ten of Picasso's twelve prints (the first and last no longer drew from a vast selection of fonts; instead, the stand alone, hors-texte) are centrally placed and the lateral activity of the page relied solely on a careful disposition of a wings of each fold over the image. lliazd's lively typography single, neutral typeface. Not content with the general rela recalls the calligrammes of Apollinaire, in whose circle tionship of the black type to the white ground of a page, Roch Grey moved.•l lliazd was mindful of the spaces in between words and the Calligrammes are but one manifestation of visual relationship of the characters on either side of that white poetry with which early twentieth-century writers experi- 54 mented. Other examples include Marine11i's Parole in T hat both men were personally intrigued with the sub liberta and the Russian Futurist Kamensky's fer roconcrete ject must have contributed to the book's success. lliaul poetry.« Unlike the work of Kamensky or Apollinaire, loved travelogues, and ,his marriage to an African princess lliazd's non-pictorial arrangement of Chevaux does not may have heightened his sensitivity to the mendicant friar's describe recognizable objects. It is more closely aligned diary." One can speculate that Picasso readily embraced the with Stephane Mallarme's early-Modern prototype Un opportunity to execute prints for this Spanish tribute to Coup de des Jama is n 'abalira le hasard ( A Throw of Dice African culture, the influence of which, needless to say, had Will Never Abolish Chance),

55 I Scledions for the extcnsi,-e bibliogrophy inelude Monroe Whcekr, Pomcr. in ..Ilia Zdancvitch," Htl O,.~rzicht 20 (Jan. 1924): 128-129, Modern Polnrtn o.nd Sc.ulp10rs as lllustrator.f (New York: MoMA, gi,'CS a personal accounl or his friendship wilh lliaul. 1936); A,, Exhibition of Frenrh &H>k lllustration. 189S·l94S (London: C. Arts Council of Great 8ri1ain, (1945)); Albcrt Skira. Antlwlogk du U"" 1 St. MDlord (Paris: E.ditions Danie-I-Henry Kahnweiler, 191 I) G. F. 2; i/lu.s1re par ks JNinlrts ti srulpu•urs ,It l'lcok ,le Paris (Gcne,•a: Edilions LL Skge de Jerusalem (Paris: Editions Oaniel•Hcnry KahnweiJer. 1914) F. Albert Skira, [ 1946)): Nicolas Rauch, I.Ls peintrts t t k lfrrt, c.at no. 6. G. C. 3. (Geneva. (1957]); Philip Hofer and Eleanor Garvey, The Artist and the 8 P&mes (Paris, 1905) G. F. C. I. Book. /86()./96(), in WeJtern Europe and Jhe Uni'ttd Statts (Boston: Museum of Fine Ar1s and Han•ard College Librar)', 1961): Walter 9 Soc William Rubin ... Picasso and Sum:-alism," Dado and Surrtali.st An Strac-han, 71,e Artlfl and the Book in Frann: 11ff' Twf!ntkth-Ctntury (New York: Harry N. Abrams, n.d.) 279•309. Uvrt d'Artistt (London: Pc1cr Owen. 1969). JO G. F. C. SO. Sec also 8. Anthoniot and J. Leyma.rie. Hommogt 0 2 Soc Georges Bloch, Pablo Pioosso: Catalogue de /'oeuvre grtl\¥ el lithog• 'Ierlode (Paris: Centre national d'art contemporain, 1973) 140-143. raphie (Rc:rne: F.ditions Kornfeld ct Kli pslcin. 1968. 1971. 1979) nos. 134--233: d . Anita Coles Co,siello's examination of the Suitt as personal 11 $cc bibliography in note 5. ~onography for Picasso: PieaJS()'$ Vo/lard Suite (New York and Lon• 12 Firsl reproduced in La Revolution Surft'aliste IS Jan. 1926: 16-17; also don: Garland Publishing, 1979). reproduced in Horodisch 34, fig, Jl 3 Bloch 1!J7. 298; B. Baer, PicQ.SSQ, Peint~grtl\'ffll /915-45 ,•ol. Ill. nos. 1J Reproduocd in Horodiseh JS. fig. 14. 6JS-616(8cme: Editions Kornfeld. 1986). a. Patricia Failing, "Picasso's 'Cries of Children ... Cries of Stones.·'" Arlntw.t 16 (Sep1. 1919): SS--64: 14 Bloch 82-94. and "'Ore.ams and lies of Franco,"' Par,isan /1,e\,jew 4 (0cc. 1937): 12, for an English translation of Picasso's aulomatic poem which ac:c»mpan• IS G. EC. 74, 79, 83, 91, 93, 94, 96, 102, 104, 10S, 106, 108, 114, 13S, 138, icd the etchinp. JS6. a. us l.iv,,s ,,. Piob: Cata/ogut Raison~ (Gcnc,..a: Patrick Cramer, 1983). 10 be referred 10 hereinafter as G. F. C. Other 17 An c.x~ption to the. rc\'ersal of image and lcxt is the 1958 volume bibliography of Picasso's illustration oeuvre includes Abraham HorPablo Picasso as a /Jntrt lliozd·Pico.s:so: RUMian Cubo-Fu1urist litctlllure: Compton and Janacek examine the Hommagt Q Jliazd (Paris: MuSCC d'An Modernc de La Ville de Paris. ,isual components of the litr.ra1urc. 1976); P. Hutten et al.. fliozd (Paris: Centre Georges Pompidou. MuSCC 24 Compton and Janeoe-k are repktc with reproductions of these books: National d'Art Moderne. 1918); Francoise Le Gris-Bcrmann, Jlia:d, see cspecia.Uy Compton co1orpla.tcs 1-22. Mai.trP dDeUvrt du livrt modtrne (Montl'Cal: L'Uni,..trsitC. du Quebec a Montrial. 1984): Audrey l~lbacher, Jliaui and the Illustrated &>ok 25 Complon II: ..Man) ' of the artis.ts became writers and made parallel (New York: MoMA. 1987): Anne H. Greet, " Jlia1.d and Max Ernst: 6J discoveries in words and lines and colours, so that poetry and pictures Maximi/ia,ra or the Illegal Practice of Astronomy,"' World literature devdoped together:· and 20: "Because so many Rus.sian futurists Today 46 (Winier. 1982): 10·18; Nicole Boulest.rcau, -Toe Irreducible approached writing from a background of visual an training. they Futurism of lliu .d; Word and lmagt 3 (Oct.·~ 1987): 279-291; and tu.med their auention to adapting cubism to words.· J oanna Drucker, ..Di.aid and the Book as a Form of Art." ~ Journot of Dtt:oralt\'e a11d Propogonda Arll 1 (Winter 1938): *SI. Thc$e Cubo-Futurist publications mighl be descri bed more accu rately as manifestos., and bear aggn::ssivle provocative titles: A Trap for Before 1974 very littJe was wrincn about llia7.d. He is rarely Judges; A Slap in Faet of Publk 'Rute: 3nd the typica.Uy absurd. Tango mc1.'lljoned in the multitude of studies and exhibition catalogues on lhc wfth Cows. French livre de JNint~ which ha,-e been published in the pa.st fifty ycarS. lbcre arc two c.arly articles: AndTC Germain's '"Ilia 2.dancvitch el k 26 Markov 350-358. surdadismc russe." Crttr II (Jan.•tt.b. 1923): llS.139 t5 a collection of notes from a 1922 conference in which he extols lliazd'S ex1.rcmc ardor in 21 Lt Dtntu as a Beacon (Paris: l.c Dcg!'C 41, 192)); reproduced in //iazd his promotion of avanl•garde ideas (rendering his European counter (Paris: C,ntre Georges Pompidou. 1978) 99-106; d. GeoJi:es Ribemont• part.<; such as Eluard or fura "'depasSC" in comparison). and rccoun.lS O::Maigncs' preface to the original publicalion, reprinted in Bulletin du Ilia.id'$ early Russian Futurist activities. The following )U_r Vladimir BibliophUe (1974-11): 173-178. 56 28 Sec Lucien Schder. " Le magicien du Mont Caucue."' 8ufle1in du .Bib/;.. 39 0 . f. C. 63. In a fubsaiption notiG'e to the re.ader, Uiazd wrote: "'Nous ophile (1974-11): 179-186: aDd a reworking of that tw1y "' lliazd du n'avons pas passer sans saluer Monluc, sokil des chevaliers, avant• Mont Caucasc au Mont Pamassc,"' F.urQM, no. 552 (A\'ril 1975): coureur des Jcttrcs modernes. prerrtier que chcrcha a libcrcr ks mots.. .." 172-180. Sec also llifnd and 1ht lllw1rated Book 16 and 80 for Hiazd as As quoted in Anniclt Uonel.. Marie, "'lli.a1.d, faocnes d'une vie," lliozd the "'Triumph of Cubism" and poster for "'Ul Soiree du COftl.r O barbt... (Paris: Mu.<;CC 1Utional d'art modeme) 68. 1923, and lliozd 47-58 for po&ters lliatd designed for confe.rcnccs and bolt. 40 Bamier 143. 41 G. F. C. 73. 29 Lcymarie. LJJ Rn1contr-e lliozd-Picasso, n. pag... wriles that Picasso's plays share with maid's ,lras a "vcr.'e oocassc, a sa,1:ur Crotiquc, ct 42 The Baroness: d'Ocning,en was the sister of Serge FCra1 (Serge Jastrcb lironie dCvastatrioc.," and "Rapprochement qui confinne entre Jex deux zoff). founder or Les Soiret!.t de Paris. edited by Apollinaire. llia.7.d hommcs de profoundcs affinitCS. )'hygiene salubrt du ri.rc, ta vision probably made their acquaintanoe when he first arrivtd in Paris. The saugrenue du desiin, un fonds immCmorial de fa roe ct de sagesse... &roness and her brQthcr Y..'Crt early champi9ns of the Dounier Rous seau; in Soiri!es de Paris she wrote articles (under the name Jean 30 Two \"Cry good essays about Uia1.d's method arc Louis Bamier, Hom Cerusse) on the primiti\'e painter. She also produced a Roussc-au mage O /Hozd, c-d. Frat1"oiS Cllapon, spec. issue of Bulfe1in du Biblio monograph. In William R. ubin and Carolyn La.nchner, '"Henri Rous phile (1974--H): 129-146, and Francoise Lc Ori$--Bcrgmann. "'lliazd aDd seau aDd Modernism," Htnri Rou.u,au (New York: MoMA.1985) 47, !he Constellation or His Oeuvre, .. trans. Riehard Miller. Jliozd and the fig. 27 shov.~ a de Chirico drawing of Picasso, U:op0ld Survagc, the ll/us1rote-d J)()()k (New York: MoMA. 1987) 21-50 [originally published Baroness d'Octtingen, and Serge Fe-rat sitting under Rou.1Seau's 1891 in s.lighlly altered form in lliaui. .'-fiitre dotu,•re du livre moderne. MyM/f, Ponroi1-Lllndscape. whkh the buer two owned. a . Lionel (Montl'C31: L'Uni,'ersitC du QuCbec a Montl'Cl\l, 1984)). Marie 71-72; and Yann le Pichon, Tht World of Henri Rousseau trans. 31 &rito (Paris: L.atitud Cuarcnta y Uno. 1948) G. F. C. 48: P~Jie tk Joacrum Neug,oschcl (New York: Viking Prcss 1982)) 272 for a photo mot.f ;,~minus ([Paris]: Le Degre 41. 1949) G. F. C. S4; and C/,nY1ux graph of the RaronC$$. ck mi'nuif (Cannes et Paris: Le Oc-grC Quarantc ct Un. 19S6) G. F. C. 43 For examples of Apollinaire's c:olligrammes. soc '"II plcut" in J. Alva.rd. 73. "'Fantaisie$ t)'l)Ographiqucs ct caUigrammcs.: L'Ar1 dUujourd'hui 111c Ser. 3-4 (Fcb.-Mar. 1952): 28: and ·e«ur couronne et miroli" from 32 In a letter to E. Dennery. Administratcur GCtlCr,11 o( the BibliothCque Coltlgromma, 1918. reproduced in Apollinaire. The CubiU Poin1er.f Nationale. lliatd v.Tote: "'C'cst dan.c, cc livrc [/.a Maigrt] quc fai intro trans. Lionel AbcJ (New York: Gcof'8C Wittenborn, 1962) 6. duit pour la prcmiCre fois l'emploi exclusif des espaCd variablc in1er cales cot.re lcs letters .:i.fi n des lis C'Quilibrcr et d'allCgcr ks ligncs ... par k Eleanor Gar.'Cy, in '"Fau\'e and Cubist Illustrated Books,~ GBA 6J moycn des cspaOC$ \'ariablcs.j'ai subLiIDC la 1ypographie.- As quoted in (Jan. 1964): 45, has obsier,'Cd that the horse in Apollinaire's U &stioiu Annick Lionel-Marie... lliazd. faoettes d'une ,,;,:_, .. lliozd (Paris: Centre 011 roritge d'Orphtt (Paris: D::planchc, 191 I, "ith woodcut illu.wations Georges Pompidou, M~ national d'art modeme. 1978) 68. by Raoul Dufy) is the fymbol of poetry.

33 Louis Bamier, Bulletin du Bibliophile (1974-U): 138. 44 Sec '"Va$ya Kamensky's Airplane Aight in Warsaw," 1914. reproduced in Jancoek 159, fig. I 12. 34 8arnicr, Bulle.tUt du Bibliophile (1974-11): 139. 45 Republished with an English translation by D'1isy Aldan (N.p.: Tiber 35 In an afterword 10 Lo Molgre (Paris: Le Degre 41, 1952), lliazd says Press, 1956). that the best fate of a poet is 10 fa ll into oblivion. He. in faa. was seeking 10 in1roduce thc$c overlooked "is.ionaries to an Clite few who 46 Cbapon, under the Chew1wc entry in Lil Re.ncon,r~ /lio:d-Pieasso. 1/ommoge (I 1/iazd. describes lhe book as a ... ballet equestre. "' could truly appreciate their extraordinary per«ption. Oaude-Ro&er Marx. in his introduction to Albert Skira's A.n1Jwlogie du /;,..,,e i/Just" 47 'The horse: has a prominent place in Pieasso's person.al iconography and par Its p~-tntres r, sculpteur.f de ltt'ole de Paris (Geneva: Editions is nearly as ubiquitous as 1he bull. Indeed, hol'$C and bull are often Albert Skira. (1946]) xiv, \ffltcs that the earl)' C\Jbist SiChool of writers advt-rsarily pitted, a~ ftmininc and masculine coun1erparts. Carla Gou and a.rtists- ~.sso. Apollinaire, Jacob, Salmon, for cxampk-did no.t Jicb has asseued comparati\'C interprccations on this subjcet: "The especially desire commc:reial SUCCC$$ for their Uvrts d'ur1is1e. because Meaning of the Bull and Horse in Gutrnka." Ari Journal XXIV/ 2 ~h recognition bti~ .. lcs tKdes, b &pCCulateurs, les plagiaires." (W;mcr 1964/ 6$): 106-112. J6 or the remaining six. the first 1wo are A.fat, 1940 (G. F. C. 33) and 48 G. F. C. 98. Esrrito, 1948 (G. F. C. 48). Because they were wriuen in Russian. a language Pica$$0 did not read, the artist's knowtcdge and understaDd 49 G. F. C. 98. ing of the text could have been second-hand 31 best. The second pair of 50 G. F. C. 98. the $ix, Si/loge lntangiblt. 1958 (G. F. C. 95) and PirosmanadwiH /9/4, 1972 (G. F. C. IS4) arc tributes to Paul Eluard and che Georgia primi• 51 Sec Frani;oi.se Le Gris-Bergmann, "'lliaJ.d and 1he Cons1ella1ion of his th'C painter Niko Piros:mani, rcspecti,•ely. For both. the illu.1;tration con Ocu\'rc," lliozd and Jhe 1/lutlrattd Bk (New Y6rk: Mo MA. 1987) 40, si.$is or a portrait fron1lSpicot-. The final two works. Pciesle de mo,s figs. 10 aDd II. respecti \'ely, for a reproduction or the photo.stat from incom1us. 1949 (G. F. C. 54) and Hommage O Rogu Lacourlere, 1968 the fourteenth~ntury manuscript and Picasso's corresponding dry• (G. F. C. 141) are anthologies of poems and prin1s to which Picasso point. was but one con1ribu10,: 52 Horodisch, 92. finds Fiert "the most suooessful" of the Picasso-lliatd 37 G. F. C. 63. collaborations; Chapon, under FrffC entry for Ul Renccnlrt IIKmJ• PiCtJSSQ, Hommagt a llia.zd, proposes .. Peut-Ctrc touchons-nous la au 38 llind became intrigued with Monluc. Comte de Cramail, and compiled sommet de la conjunction Jlia.z.d.Picasso. Cc livre, si peu connu, comptc notes for a biography. The information he collected was published parmi lcs plU$ beaux qu'aura produilS noire Cpoque." pos1humousl)' in Anne-Marie Dutrau and Christian PC-ligry, Lo Vie 53 On llia1.d's African wife. lbironkC Akintemoyin, see Lionel-Marie 64; lnttllttlutfle it Toulouse au Je.mp.t de Godo/in (Toulouse: Bib1iotheque d . Liooel-Marie 73 for commentary on Fr"ere. Municipalc, 1980). Cf. T. J. D. Allot, '"Cramail and the Comic, .. '/he Mod

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~~Figure I. lliazd and Picasso, La Maigre, 1952; from Pablo Picasso, The /1/ustrated Books, Catalogue Raisonne (Geneva: Patrick Cramer, 1983), 171, no. 63.~~

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~~Figure 4. Iliazd and Picasso, la Maigre, p. 3, 1952; from A. Horodisch, Picasso as a Book Anist, trans. I. Grafe (Cleveland: World Publishing Co., 1962), fig. 53.~~

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VN RIO QUE OIZEN ENALCO t PARTI DESTE MONTE QUE OI ZEN LIRRI t FU Y AL REYNAOO OE GOTONIE QUE TtE NE HUY GRANOES TIERA$ POBLADAS t YERMAS t EN ESTE REYNAOO GOTONIE SON VNOS MONTES MUCHO ALTOS QUE OIZ QUE NON SON OTROS TAN ALTOS EN EL MUNDO t OIZENLES LOS MONTES OE LA LUNA

~~OTROS LES OIZEN LOS MONTES DEL ORO E NAS~EN OESTOS MONTES ~INCO RIOS LOS 11AYORES DEL MUN DO t VAN TOOOS~~

CAER EN EL RIO DEL ORO t FAZE Y VN LAGO TAN GRANDE DE VEYNTE JORNADAS EN LUENGO t DIEZ EN ANCHO t FAZE EN MEDIC VNA GRANO ISLA QUE DtZEN, PALOLA t ES POBLAOA DE GENTES I NEGROS PtRO LA MAS DESTA TIERRA ES OESABtTADA POR LA MUY GRAND CALENTURA t POR QUE es TODA ARtNAS MUERTAS Figure 6. lliazd and Picasso, le Frere mendiant o libro def conocimiento, 1959; from A. Horodiscb, Picasso as a Book Artist, trans. I. Grafe (Oeveland: World Publishing Co., 1962), fig. 57.

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'---') ' \ / 11 I \ ,) \ } V ) r- - _ _,, -f I \ Figure 7. Picasso, Le Frere mend/ant o libro de/ conocimiemo. 1959; from A. Horodisch, Picasso as a Book Artist, trans. I. Grafe (Cleveland: World Publishing Co., 1962), fig. 58.