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I'm in Malaga, birthplace of the
painter Pablo Picasso. And this is
where he came to love the bullfight.

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(BULL LOWING)

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(CROWD CHEERING)

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In Spain it's known as the corrida.
Picasso was a passionate devotee of
the matador's ballet of death.

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Pirouetting with the ferocious bull.
Those images haunt Picasso's long
life as artist and lover.

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During the Spanish Civil War, he
painted the terror of the aerial
bombardment of a small town

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called Guernica. In a painting that
featured a bull and a disembowelled
horse dying in agony.

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Picasso drew those powerful images
directly from the bullring but
hideously distorted by war

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into a nightmare of slaughter and
grief.

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My father fought in that war and like
the painter became a political exile,

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yearning for Spain.

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Without the bombing of Guernica, I
wouldn't exist and my perspective on
Picasso is shaped by my father.

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91 million. 92 million. Three of the
twelve most expensive paintings in
the world are Picassos.

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And selling at $95 million.

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Nick, your bidder at $95 million.

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With more than 50,000 artworks to his
name, Picasso was one of the most
prolific and influential artists

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of all time. The total value of his
art today runs into billions of
pounds.

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Picasso was one of the 20th century's
greatest icons. He gave a new meaning
to the colour blue

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with his melancholy blue period
canvases.

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And he was a pioneer of Cubism, an
extraordinary technique that allowed
the artist to portray his subject

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from multiple viewpoints layered on
top of each other.

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But Picasso was also a philanderer,
famed for innumerable relationships
with women

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that began in his teens and lasted
into old age.

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Without exception, these women filled
his canvases as much as his bed.

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I've come to Malaga, in the deep
south of Spain, where Picasso was
born and brought up.

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Although Picasso spent much of his
life in France, my experience of my
father's exile inclines me to believe

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that Picasso's Spanishness defines
the man and his art to the end.

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For the Spaniard, family is all
important as I learnt from my Spanish
father, Luis, while growing up

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in Stanmore, Middlesex, in the 1950s.

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I am immensely influenced by my
father. And, I think, influenced by
his Spanishness.

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I was very aware when I was growing
up in England that my father was
something different.

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Literally foreign. He spoke with a
foreign accent. My father was quite
eccentric. When he was crossing

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a street in Britain he would
sometimes bullfight the cars. He
would pretend the car was a bull

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and have the imaginary cape. So, I
was terribly aware, when I was
growing up, that I was half Spanish.

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I was hearing the Spanish language
all the time.

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Picasso was raised in an apartment in
this bourgeois block of mansion flats

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on the corner of the Plaza de la
Merced.

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It's quite a bit block of apartments
here, isn't it? Yes, four floors. I'm
shown around by local guide,

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Rosa Lopes. Let's come in. Thank you.

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The family living room is top of my
list of things to see because it
explains how it was that the young

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Pablo first picked up a brush and
started to paint.

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This is by Picasso's father. Yes.
This is the signature, here, in the
corner.

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His father Jose Ruiz Blasco was an
art teacher. He painted pigeons.

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And they're exquisitely rendered but
utterly lacking in ambition.

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Perhaps it was because of this that
his son chose not to adopt his
father's surname

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but to use his mother's instead.
Picasso.

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I think Picasso once said that in
life you have to kill your father. In
the sense that you have to go beyond

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your father's achievements. Is that
right? Yes. This is the reason why
Picasso chose the surname

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of this mother, Picasso. Not like
his father's, Ruiz.

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To be different in the painting and
also in the way of life.

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Amongst the family bric-a-brac,
culled from far and wide for this
little museum

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is a fascinating family photograph.

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With a teenage Pablo sitting at the
head of the table.

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It's a very interesting photo. Partly
because of the distinctive face of
Picasso, but also it tells us

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everything about their lifestyle.
This is a very elegant lunch party.
Yes.

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What's so extraordinary about
Picasso are the eyes. Huge eyes.

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The adventurous, young Picasso stole
away to explore this city of bulls,
gypsies, guitars, flamenco dancers

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and those mournful flamenco songs
that speak of love, blood and death.

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I've got a postcard of sketches that
Picasso made when he was nine years
old. And it's interesting because

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along one side he's been doing his
father's thing, sketching pigeons.

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And then on the other side, or
turning it around he's done a
bullfight.

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The bullfight is very, very good. The
bull's well done the matador is being
tossed by the bull.

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He's got the entire atmosphere and
he's just done the crowd with little
squiggles. A very mature approach

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because he leaves all the detail to
our imagination.

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I'm drawn to the bullring because the
blood and the sun energised Picasso.

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(SPEAKING SPANISH)

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Salvador Farelo was one of this
city's greatest bullfighters, who
ingested this passion

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virtually with his mother's milk. I
was asking Salvador how bullfighting
appeals to children as it did to him,

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as it did to Picasso as a child, and
he was saying, 'That's the way we
were brought up.' It was fundamental

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in their education inside the home
and even as children they were always
pretending to be bullfighters.

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They were seizing a tablecloth or
their mother's apron and going
through the motions of being

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a bullfighter. (BOTH SPEAKING
SPANISH)

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Beautiful posture as the bull is
coming past. I find this photograph
terrifying because the bull

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is bigger than Salvador by a long
way.

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But here, his leg is strapped up from
a previous injury. (SPEAKING SPANISH)

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On that day, two matadors were gored.

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Salvador has repeatedly cheated
death in this arena. Why would
Picasso, pointing his paintbrush

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at the canvas, be so drawn to the
matador aiming his sword at the bull?

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(SPEAKS SPANISH)

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Bullfighting appears so much in
Spanish art and it is because
bullfighting is itself pure art.

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If the corrida lies at the heart of
the Spanish soul, it's no surprise
that Picasso should continue

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to draw so much inspiration from it.
The symbolism of the corrida is
central to Guernica,

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a painting that stands as a landmark
in Picasso's personal relationship
with Spain.

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Guernica was created as a public
memorial to the most cataclysmic
event in Spain's history,

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the Spanish Civil War.

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In league with Hitler and Mussolini,
the fascist General Franco set about
overthrowing the Spanish Republic.

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The war lasted from 1936 until 1939
and Franco's victory would lead to
the exile of both my father

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and Picasso from their beloved
homeland.

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# RAVEL: Bolero

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Forty years earlier, Picasso came to
Madrid for the first time to study
art. He was just 15.

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But it was at the Prado Museum that
Picasso's artistic education
flourished because here

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his extraordinary eyes could absorb
some of the greatest paintings in
world history

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created by Spanish geniuses.

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Images which, at a time when there
weren't many reproductions, were
probably completely unknown to him.

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When he arrived in Madrid, Picasso
had left his father behind in every
sense and from now on he would

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learn from the great masters.

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El Greco, Ribera,

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Velazquez, Murillo,

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Zurbaran, Goya.

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The walls of the Prado's grand
portico proclaim the great names of
Spanish art.

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I want to stand before the great
pictures that Picasso saw as a boy
because was his lasting memory

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of those paintings that continued to
inspire his own work until the end of
his days.

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This painting by Goya shows the
horror of war.

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The hidden faces of the French
invaders, Napoleon's robotic firing
squad are sharply contrasted

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with the horror and fear of a Spanish
patriot at the moment of facing
death.

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Picasso was deeply moved by this
painting, more than 50 years later he
made direct reference to it

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with Massacre In Korea, his response
to the American invasion in the
Korean War.

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Again the firing squad is anonymous.
We're drawn to the faces of the
victims.

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Vulnerable.

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Naked.

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Much to the disappointment of his
father, who disliked the work of the
16th-century painter, El Greco,

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Picasso became a passionate admirer
of the distinctive, elongated figures
depicted in these sacred scenes.

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When Picasso's friend, Carlos
Casagemas committed suicide because
of a failed love affair,

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Picasso painted a memorial in the
style of El Greco but secularity
replaces Catholicism.

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Instead of angels and virgins,
scantily-clad girls line the man's
ascent to the hereafter.

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The great images of Spanish art
inhabited Picasso's imagination right
up to his death.

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My father used to talk to me about
Spanish art. He was particularly a
fan of Velazquez.

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He told me Velazquez was actually the
first impressionist ever. But I first
heard about Picasso from my mother.

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Because my eyes are not at the same
level as each other and my right ear
is a bit bigger than my left.

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This showed up in childhood
photographs. You can see, here, that
the eyes are not level.

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And my mother used to say to me, very
affectionately, 'You're my little
Picasso'.

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Atocha station. It's time to leave
the capital and head for the other
Spanish city that made such a mark

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on the young Picasso in his
impressionable years.

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Barcelona was the last Spanish city
where Picasso set foot, although he
didn't know it at the time.

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Barcelona was also the last city on
my father's escape route out of the
country before turning up

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as a refugee in England.

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By April 1939, General Franco had won
the war and for those, like Picasso
and my father,

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who'd backed the losing side, to be
in Spain was to invite imprisonment
or death.

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My father was a very gentle man.
During the Civil War, although he
served at the front, he refused

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to carry arms in case he would kill a
Spanish brother. And, of course, that
could be literally because he had

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brothers fighting on the other side.

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At home we weren't even allowed to
kill flies. He had such respect for
life. But he was so angry

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all the time about what happened in
Spain. He hated Franco, talked about
it obsessively.

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Almost my earliest memory is of my
father talking about General Franco.
Despite his love of life,

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his respect of life, one of my
enduring memories is his whoop of
triumph when one of Franco's

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closest aides was blown up. It was
most untypical but that's how much

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he hated the men who'd done that to
Spain.

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Barcelona is the second largest city
in Spain but it's also the capital of
Catalonia, an autonomous community

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claiming a distinct nationality.

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This is a city with a history of
independent free thinkers. People
like the artist, Salvador Dali,

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and the architect, Antoni Gaudi,
who's work is everywhere. Not least
the Sagrada Familia, the great church

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that they're still building 130 years
on.

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Day and night the city offered
inspiration and titillation to artist
and adolescent, Pablo Picasso.

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You know, even today Barcelona is
buzzy. This region of Spain,
Catalonia, has it's own language

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and in Picasso's day, people used to
meet in bars to plot independence and
they still do.

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When the painter arrived in the city,
the new revolutionary architecture of
Gaudi set this place apart

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from stuffy, old Madrid. The boy from
Malaga had arrived.

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Eat your heart out, Tom Cruise.

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Respect.

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This is the Picasso Museum in
Barcelona. Five adjoining medieval
palaces house one of the most

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extensive collections of Picasso
artworks in the world.

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Amongst the treasures, a self
portrait painted when Picasso was 15
years old, shortly after the family

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first arrived in Barcelona.

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It's fascinating to see the man
emerging from the chrysalis of the
boy. The foppish, devil-may-care

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hair sits almost comically against
those formal, stylish clothes.

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But that penetrating gaze and the
steely expression demand to be taken
seriously.

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Like many young men in Spain at the
time, Picasso joined a tertulia,

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a largely male, conversational
gathering in this case of artists and
writers. Strong friendships

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were an important feature of Spanish
society and endured for Picasso
throughout his life.

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The teenage Pablo Picasso became a
frequent customer at the cafe of the
Quatre Gats, the Four Cats.

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He must've been thrilled to be
admitted into the inner circle of
intellectuals who used meet here

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and debate. I'm going inside and I'm
told that it looks unchanged since
Picasso's day.

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(SPEAKS SPANISH)

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This is the famous El Quatre Gats.
Yes. It looks just like the photos
of Picasso's day.

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But it closed in 1903, when was it
reopened? It opened in 1977. And
Picasso apparently sat in this chair.

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This is Picasso's chair.

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Fantastic.

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This is a spectacular room.

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It was in this room in 1900 that
Picasso gave his first one-man show
at just 18 years old.

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More than a century on, portraits of
adored members of his Barcelona
tertulia still adorn the walls.

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(SPEAKS SPANISH)

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And these are reproductions of the
pictures he had in that first
exhibition.

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That really is very historic. I
notice that he is signing himself P.
Ruiz Picasso.

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He's still using his father's name
followed by his mother's surname,
Picasso. Then later he drops

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the father's name and just goes with
the mother's surname. Picasso is a
much more unusual name than Ruiz.

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In Picasso's day, the city's
illustrious personalities and their
effervescent debates

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gave life to the cafe. Now visitors
evoke that idealised age over a
'plato del dia' and the sparkle comes

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from a glass of cava.

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I like to think how much the young,
unsophisticated Picasso would have
had to learn when he first came

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here to the Four Cats cafe. Unyet he
became the dominant member for that
intellectual circle.

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And, of course, really the only one
who's remembered today. And now, this
place attracts not intellectuals

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but tourists draw from the four
corners of the globe by the magnetism
of brand Picasso.

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At the age of 23, Picasso exchanged
Barcelona for the even brighter
lights of Paris.

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The artist's city.

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Picasso would never live in Spain
again.

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30 years after his arrival in Paris,
the ambitious youth from Barcelona
had become the famous, wealthy

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middle-aged artist creating the
brash, idiosyncratic art that we
identify as his without hesitation.

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But just as Picasso had changed, so
had Spain.

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In 1936, the country was plunged into
civil war.

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My father was on the Republican side,
which drew support

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from the Soviet Union fighting
Franco's fascist forces.

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Picasso hadn't visited Spain since
1934 and was reluctant to leave
Paris,

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which was now his permanent home.

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In the midst of brewing unrest
throughout Europe, a world fair was
being planned in Paris.

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Picasso was asked by the Spanish
Republic to create an artwork for the
event to help bring his country's

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desperate plight to international
attention.

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It's hard for me to believe that here
in Paris in 1937, just two years
before the outbreak of World War Two,

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they held a world fair. Stalin's
Russia and Hitler's Germany milked it
for propaganda.

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Here stood the Soviet pavilion with
enormous figures toiling with hammer
and sickle.

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And an eagle and a swastika on the
Nazi building symbolically barred the
path for the communists.

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And in between stood the pavilion of
the beleaguered Spanish Republic on
who's territory Russia and Germany

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were fighting a proxy war.

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Meanwhile, barely a couple of miles
away in his studio Picasso was
mulling over how to respond

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to one of the most important
commissions of his life.

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Then, without warning, on the 26th of
April 1937, the little town of
Guernica, in the Basque region

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of Spain's north coast, was brutally
attacked.

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Franco had enlisted the help of the
Nazi Luftwaffe in a ruthless aerial
bombing raid on this proudly defiant

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part of the country.

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The Basque government reported more
than 1600 deaths. Picasso was
outraged.

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But his shock and anger galvanised
his powers of visual invention and
within days he had the picture

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in his head. For the next six weeks,
he worked with tireless passion.
Uniquely, a series of photographs

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was taken during the creation of the
painting. We see how Picasso
introduced his symbols

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then erased them, moved them, rotated
them. Finally arriving at a noble
simplicity.

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But it wasn't only images from the
war that found their way onto the
canvas. Guernica was also created

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in the midst of the turmoil of
Picasso's personal life.

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Since the late 1920s, Picasso had a
lover called Marie-Therese Walter.

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Characterised in his art as sunny,
curvaceous, sexy and often asleep.

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But, in 1936, Picasso met French
photographer Dora Maar who was
portrayed as a much darker,

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spikier presence and most famously as
the weeping woman.

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Guernica was created during the
overlap when a new relationship had
started but before the old one

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had ended. The arena for this
conflict between the women

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was the studio in the Rue des Grands
Augustins, Paris.

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It's quite emotional for me to visit
the studio where Picasso painted
Guernica in an ancient building

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who's history was very attractive to
Picasso. We're lucky that it
survived. It's now owned

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by the bailiffs of Paris and restored
by the National Committee for
Education.

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I'm joined by Picasso's
granddaughter, Diana Widmaier
Picasso, who's grandmother

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was Marie-Therese Walter.

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This is really quite moving. What a
wonderful space. Yes, very much so.

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This was big enough to paint
Guernica? Well, that's where he
started making all the preparatory

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studies and he started working here.
Then he realised that the work,
which was quite significantly large,

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it was 3.5 by 7.8 which is 26 square
metres.

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He had to incline the work and it
was too inclined in order to work so
he decided to work downstairs.

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But unfortunately these days the
place has been transformed into
offices.

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During the course of the film, I've
been thinking about the horse and the
bull that are in Guernica

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but what other influences do you see
in the painting? Well, there is
Marie-Therese. Your grandmother.

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Mm-hm. My grandmother, who he had
met in 1927. Despite the fact that
in 1936 he meets Dora Maar,

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they continue to have a relationship
and his heart and work is torn
between those two major muses.

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If you look carefully at Guernica,
you can see evocations of both
Marie-Therese, Diana's grandmother,

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so often portrayed as the woman with
the lamp in Picasso's works, and on
the far left the other woman

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in his life at this time, Dora Maar,
translated into the weeping woman.

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After six weeks of working
continuously, with few hours for
sleep, the canvas was finally

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complete and ready to take it's place
in the newly finished Spanish
pavilion at the Paris World Fair.

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The original Spanish pavilion has
long since gone but in more recent
years a replica has been built

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in Barcelona as a tribute to the
doomed Spanish Republic of the 1930s.

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By going in here today, I'll be able
to appreciate how the world first saw
Guernica, which proclaimed

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to the world the desperate struggle
for survival of the Republic during
the Civil War.

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Hello, Michael. Welcome. I'm met by
Lydia Martinez Altariba. This is an
extraordinary piece of architecture

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for the 1930s. The pavilion was
designed so that visitors walked up a
steep ramp to enter the exhibition

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at the top of the building on the
second floor.

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Once inside, visitors would have been
hit not just with wonderful Spanish
art but with Republican propaganda

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claiming credit for social reforms
and progress against poverty and
illiteracy.

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Look at the pillars, the colour. The
building is now the library of the
Spanish Civil War,

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a subject still painful and divisive
for Spanish people. Prominently
exhibited are the most extraordinary

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pro-Republican posters mocking
Franco, Hitler, Mussolini and the
rest of the fascist hierarchy.

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Visitors in 1937 would then have made
their way out to an open ground floor
and there in front of them

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was the climax of the exhibition.

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And this is Guernica.

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So this is where Guernica was when
the building was in Paris.

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Exposed to the elements. Yes, it's
true. But it was like that. And the
size of the painting is dictated

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by that space. Exactly. It was
commissioned. That's why the size is
this.

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This is nothing more than a faded
copy but it's exactly the same size
as the original painting

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and it gives you a sense of how
Picasso's Guernica was first revealed
to a stunned world

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more than 70 years ago.

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The original work now rests
permanently in Madrid's Reina Sofia
Museum and I'm about to see

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the actual painting for the very
first time.

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So, now I meet Guernica face to face.

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And although I've see all these
figures so often in representation,
each of them is itself colossal.

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The screaming figures.

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The woman with the baby, the fallen
soldier.

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The horse, of course, and the bull.

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All on an enormous scale. Everywhere
is suffering and distress.

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Very, very bleak,

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For me, this is Picasso's greatest
work. not because it represents the
bombing of a small town in 1937

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but because it has a universality.
It's depiction of blood, horror,
death, fire and grief

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are in no way limited to one place
and one date.

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In this single canvas there's more
eloquence than in 1000 volumes of
words.

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Gijs van Hensbergen helps me to
understand some of the symbolism.

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There was a moment after the Second
World War when an American soldier
came and visited Picasso and said,

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'Pablo, what does the bull mean?
Does that mean Franco?'

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And he said...

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He didn't like it when people tried
to close down the meanings and make
it too literal.

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He said, 'For me the bull is
brutality.'

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The horse, is it a victim?

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For the Basques, they feel the horse
is one of their totem images.

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So they felt very strongly a sense
of ownership about the wounded horse
and, of course, in a bullfight,

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in the early days of the bullfight
at the beginning of the 20th century
the horse always got disembowelled

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by the bull. But again the bull is
there in a... It's almost like a
silent witness

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on this strange scene that's gone
on. It's terrifying.

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Picasso's insight into the horrors of
war didn't stop with Guernica.

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These are the vast store rooms of the
Tate Gallery, somewhere in England.

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I've brought with me Antony Penrose
who knew Picasso when he was a little
boy.

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Antony's father, Roland Penrose was
Picasso's friend and biographer.

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I want to understand how Picasso
continued to channel his pain and
anger at the Spanish Civil War

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through the harrowing image of his
new lover.

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This painting was owned by the
Penrose family for years before it
passed to the Tate.

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It was completed just four months
after Guernica.

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Well, there's no mistaking it.
Absolutely none.

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Oh, my goodness.

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So, Antony, that is a very familiar
sight to you. Very familiar but
whenever I see her

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there is still a shockwave, a fizz
of excitement.

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The most staggering thing for me are
the eyes.

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When I was little I asked my mum,
'Why is the lady crying?'

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And she said to me, 'She was living
in a town called Guernica and
bombers came over and dropped bombs

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on the town and killed lots of
people. Maybe they even killed her
little boy.' For a long time

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00:32:54,840 --> 00:33:00,720
afterwards I was very cautions when
an aeroplane went over. It was a
frightening event. But what

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stayed with me... In her eyes, do
you think they look like aeroplanes?
The silhouettes?

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That's like he's saying this memory
was seared into her, that was
absolutely indelible in her.

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That moment that the bombers came
over. To some extent this painting
puzzles me. She's not in the open,

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as in Guernica, suffering a
bombardment. She's in a room with
wallpaper, she's wearing a bright

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coloured hat, she's got a flower.
This doesn't seem to relate to that
experience of the bombing.

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What do you make of that. Oh, it
does. It's absolutely spot on
because it was market day

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when the bombers came over. She's
dressed in her best hat. She's going
out to the market to have

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a wonderful time. Meet her old
friends and so on and then suddenly
this absolute cataclysm occurs.

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It's totally beyond her
comprehension. It's the first time
aerial warfare has been used against

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civilians like this. It's this
incomprehension. This horror, this
shock is so best contrasted against

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the flamboyance of the colour. It's
a woman who's life, in one split
second, has been totally destroyed

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along with that of 2000 other
people.

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This is a photograph that my mum,
Lee Miller, took very soon, it was
just a few weeks, before Picasso

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painted this picture. And when you
look, do you see Dora's hair. It's
so obvious, isn't it?

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And then look at the profile. You
can see a sense of that really
strong nose and chin.

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00:34:46,560 --> 00:34:53,360
You can see this is an intelligent,
really determined woman and he's
used her very beautifully

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00:34:53,360 --> 00:35:01,640
to portray this tragic figure here.
Your father met Picasso in the year
that the Spanish Civil War began.

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Do you know whether your father had a
view about where Guernica stood in
the works of Picasso?

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Did he regard it as one of the
greatest of his works? He certainly
regarded it as probably the most

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important painting in the world.

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But in many ways, the creation of
Guernica marked only the beginning

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00:35:24,600 --> 00:35:28,760
of Picasso's reignited passion for
Spain.

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00:35:38,000 --> 00:35:42,600
Picasso was educated here, in Madrid,
over a century ago.

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Today it's hard to understand the
suffering endured by the city under
three years of siege

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and 35 of dictatorship.

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00:35:51,440 --> 00:35:57,480
Virtually every trace of General
Franco's presence has been
obliterated, except one.

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00:35:58,840 --> 00:36:06,360
The Spanish Civil War ended at this
spot when after three years of
appalling siege, Madrid finally

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fell to the forces of General Franco.
Later he built this triumphal arch.

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00:36:13,320 --> 00:36:14,680
(TRUMPET FANFARE)

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00:36:21,000 --> 00:36:27,360
Picasso would not return to his
native land while Franco was alive.
Nor would he allow his painting,

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00:36:27,360 --> 00:36:35,400
Guernica, to come to Spain. Today,
the picture is in Madrid, the
triumphal arch is neglected,

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marooned on a traffic island, almost
inaccessible and daubed in graffiti
demanding that it be demolished.

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00:36:48,120 --> 00:36:54,640
Franco's victory at the end of the
Civil War marked the beginning of
Picasso's and my father's exiles

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from their homeland.

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During their banishment, they held
Spain evermore deeply in their
hearts.

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Without the bombing of Guernica, I
wouldn't exist. You may be wondering
how I can make such a claim.

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I've come back to London to meet a
very old friend of my family who's
better qualified than anyone

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00:37:18,560 --> 00:37:20,240
to tell the story.

344
00:37:22,040 --> 00:37:29,240
Erminio Martinez was one of the
children evacuated from war-torn
Spain in 1937.

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00:37:30,320 --> 00:37:34,040
Hello, Erminio. How lovely to see
you. How are you?

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00:37:34,880 --> 00:37:40,840
His heart rending refugee's story
comes straight from the horror of
Picasso's Guernica.

347
00:37:40,840 --> 00:37:45,480
That is the Habana docking at
Southampton

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00:37:45,480 --> 00:37:54,280
with very nearly 4000 children, no
parents, just 4000 children onboard.
How old were you?

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I was seven a week before we left
Spain.

350
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Your parents had sent you on this
ship and presumably you didn't know
if you'd ever see them again.

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00:38:05,640 --> 00:38:11,440
They didn't know whether they'd see
you again. Well, when one is young
like this, one takes things

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00:38:11,440 --> 00:38:15,760
as they come. I was young.

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00:38:16,960 --> 00:38:23,080
However horrific Erminio's separation
from his family must have been, he
was lucky in that without

354
00:38:23,080 --> 00:38:29,440
the widespread condemnation of the
bombing of Guernica the British
government wouldn't have allowed

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the children to enter the United
Kingdom.

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00:38:31,880 --> 00:38:34,640
This is your father...

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00:38:35,360 --> 00:38:39,280
When my father, a university
lecturer, arrived in England

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00:38:39,280 --> 00:38:45,440
he helped to teach the displaced
Spanish children like Erminio. I
remember that your father

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00:38:45,440 --> 00:38:51,520
was eking out a living peeling
potatoes and washing dishes in a
restaurant.

360
00:38:51,520 --> 00:39:00,160
My father loved to dress well. And it
is interesting that somehow in his
poverty he turns out so smartly.

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00:39:00,160 --> 00:39:03,800
He even has clean and beautifully
polished shoes here. Yes.

362
00:39:04,400 --> 00:39:06,440
Amazing. Yes.

363
00:39:06,440 --> 00:39:12,000
Here you can see my mother very
clearly. I remember your mother,
Cora, very clearly.

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00:39:12,000 --> 00:39:19,360
Beautiful smile. Yes. Your mother, of
course, was doing Spanish at Oxford.
That's right.

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00:39:19,360 --> 00:39:26,400
And she couldn't got to Spain to
have the usual practice of spoken
Spanish so she turned up

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00:39:26,400 --> 00:39:31,960
at the colony helping with some of
the younger children to give them a
bath and so forth.

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00:39:31,960 --> 00:39:37,240
Joining in the life of the colony
and, of course, that's where she met
your father.

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00:39:37,240 --> 00:39:38,760
Yeah.

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00:39:38,760 --> 00:39:42,800
The unlikely encounter of my Scottish
mother and my Spanish father

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00:39:42,800 --> 00:39:48,560
and the subsequent creation of my
brothers and me was one of the few
fortunate consequences

371
00:39:48,560 --> 00:39:54,960
of the Spanish Civil War. Picasso's
painting reminds us that their happy
meeting contrasted

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00:39:54,960 --> 00:39:59,200
with the horror of mother's rendered
childless and children orphaned.

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So, Erminio, tell me, as a painter
yourself, how do you rate this
painting amongst paintings,

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00:40:07,840 --> 00:40:17,200
let's say, of the 20th century. How
important is this painting? I always
say to people in this country,

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00:40:17,200 --> 00:40:24,480
'Do you know Picasso?' 'Oh, yes,
Picasso.' 'Do you know Guernica?'
'No.' So I say, 'It's the most

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00:40:24,480 --> 00:40:31,800
famous painting of the last
century.' Still very, very relevant
today.

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00:40:33,840 --> 00:40:39,800
Because Picasso never returned to
Spain after he painted Guernica, I
believe that, like my father,

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he dwelt more and more on the
memories of his Spanish homeland.

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00:40:44,960 --> 00:40:51,320
After the Second World War, Picasso
move to the south of France where the
climate and the customs recalled

380
00:40:51,320 --> 00:40:58,440
his native Spain. Picasso's piercing
gaze was often to be seen amongst the
crowd in the French bullrings

381
00:40:58,440 --> 00:41:00,720
of Vallauris and Arles.

382
00:41:02,720 --> 00:41:09,520
But attending the corrida was not
enough. In 1957, he embarked on a
series of lithographs

383
00:41:09,520 --> 00:41:15,960
to illustrate the Tauromaquia, a
famous Spanish handbook on the art of
the matador.

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00:41:15,960 --> 00:41:24,280
Twenty years after Guernica, Picasso
imbued these images with a powerful
nostalgia for his Spanish homeland.

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00:41:28,840 --> 00:41:35,640
To gauge how potent Picasso's
Spanishness was after decades of
exile, I've come to meet two people

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who've become modern icons of classic
Spanish culture.

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(SPEAKS SPANISH)

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Javier Conde is Malaga's most
celebrated matador, his wife,
Estrella Morente,

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is one of Spain's greatest flamenco
singers. In terms of fame, they're
the Posh and Becks of Spain.

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But for me they represent the duende,
the very spirit of the Spanish soul.

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This is a poster of Estrella by a
very well-known poster maker. It's a
very fine piece of work.

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00:42:16,600 --> 00:42:17,840
(SPEAKS SPANISH)

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00:42:18,840 --> 00:42:20,440
(SPEAKS SPANISH)

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I want to know whether, after 20
years in exile, Picasso could still
capture the spirit of the bullfight.

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(SPEAKS SPANISH)

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00:42:34,000 --> 00:42:40,480
Javier says that these black and
white drawings really capture, with
the simplest black and white lines,

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the whole essence of the bullfight.
Which, in a sense, is very simple

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but that Picasso, just with these few
daubs, manages to capture the essence
of the whole thing.

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00:42:55,520 --> 00:43:00,120
It's clear from these images that 70
years after he drew his first

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00:43:00,120 --> 00:43:02,080
bullfight as a nine year old

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00:43:02,080 --> 00:43:06,720
in Malaga, Picasso never lost his
cultural and national identity.

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00:43:09,800 --> 00:43:11,200
(SPEAKS SPANISH)

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I asked Estrella if she could
recognise, in any Picasso painting,
flamenco song?

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00:43:23,040 --> 00:43:29,000
Without any hesitation she said,
'Guernica. There can't be a painting
which is more expressive

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00:43:29,000 --> 00:43:33,480
of a flamenco song than Guernica.
Because it is this massive lament.'

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00:43:37,920 --> 00:43:45,960
Estrella normally sings to crowded
auditoriums in Paris, London and New
York so I feel very privileged

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that she's offered to give me a
private recital in her beautiful
home.

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00:43:50,520 --> 00:43:54,600
She's going to sing a piece written
by her father.

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00:43:54,600 --> 00:43:56,200
(SINGS IN SPANISH)

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Adios Malaga is dedicated to
Picasso's childhood.

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00:44:42,760 --> 00:44:48,920
At the end of his life, Picasso
turned full circle back to his
formative years in Spain

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when, as a young artist, he was
exposed to the great masters of
Spanish art in the Prado.

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00:44:56,200 --> 00:45:01,800
One painting in particular was seared
on to his brain.

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00:45:01,800 --> 00:45:08,800
By his mid 70s, the memory of it and
of the artist who created it demanded
his attention.

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00:45:09,560 --> 00:45:17,920
Painted 350 years ago, and a
favourite of my father's, Velazquez's
Las Meninas was a breathtaking

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00:45:17,920 --> 00:45:26,400
originality. Defying convention, the
great, royal portrait artist, Diego
Velazquez had depicted himself

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00:45:26,400 --> 00:45:33,520
at work on a portrait of the king and
queen, who seem to be standing where
you, the viewer, are standing.

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00:45:33,520 --> 00:45:38,880
And their majesty is reduced to a
small reflection in a distant mirror.

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00:45:40,200 --> 00:45:48,920
As original in it's day as Picasso's
cubism, Velazquez forced people to
see the world from new perspectives.

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00:45:49,360 --> 00:45:55,880
Las Meninas is one of the most
influential paintings in the history
of western art.

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00:45:56,840 --> 00:46:00,680
This painting is so charming.

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00:46:00,680 --> 00:46:04,120
So enigmatic. So Spanish.

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00:46:05,760 --> 00:46:10,920
I can imagine that if I were in
exile, like my father or like
Picasso, I would miss it.

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00:46:10,920 --> 00:46:18,120
I would yearn for it. And if you're
an artist like Picasso you would
become obsessive about it.

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00:46:18,120 --> 00:46:21,120
You'd want to paint it again and
again.

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00:46:21,120 --> 00:46:27,320
I'd like to see now, what Picasso did
with it. Did he add to it?

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00:46:27,320 --> 00:46:30,760
If you can add to such a masterpiece.

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00:46:38,720 --> 00:46:48,200
So obsessed was he with Las Meninas,
that Picasso painted 45 different
versions over a period of six months.

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00:46:48,960 --> 00:46:54,400
He was 75 and still exiled in the
south of France.

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00:46:54,720 --> 00:47:02,040
His homeland, Malaga, the Prado, all
were evermore distant memories.

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00:47:07,240 --> 00:47:16,560
Here is Picasso reworking obsessively
the painting by Velazquez, Las
Meninas, that he'd seen as a child.

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00:47:17,080 --> 00:47:23,720
It's fascinating the way Picasso
reproduces details from the original.
Here's the back of the canvas

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00:47:23,720 --> 00:47:30,240
as in the original. This is the
artist, Velazquez, with the cross on
his chest. Nice and prominent.

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00:47:30,240 --> 00:47:37,040
The king and queen reflected in the
mirror have been reduced to two dots.
The princess is clear enough.

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00:47:37,040 --> 00:47:42,520
The figure in the doorway. Two
figures behind kicking the dog.

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00:47:43,280 --> 00:47:47,840
Picasso did not suffer from modesty.

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00:47:47,840 --> 00:47:56,680
It's perfectly clear that he sees
himself alongside Velazquez. He has
the right to take one of the greatest

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00:47:56,680 --> 00:48:02,280
pieces of Spanish art, one of the
most famous paintings in the world
and rearrange it.

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00:48:04,600 --> 00:48:13,160
Picasso, 23 years in exile, still
absolutely, quintessentially Spanish.

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00:48:13,160 --> 00:48:19,800
And claiming his position amongst the
greatest artists of Spanish history,
of world history.

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00:48:27,000 --> 00:48:28,960
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