In Montmartre
Picasso, Matisse and Modernism in Paris, 1900-1910Select a format:
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Summary
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 Ballet Russe 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.
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 Ballet Russe 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.
Reviews
The great strength of Roe's book is the way that it manages to synthesise the wealth of published biographical and scholarly work on half a dozen artists into a coherent narrative of kith and kinship
Kathryn Hughes, Guardian (on The Private Lives of the Impressionists)
