When artists paint they put part of their emotions, feelings and interpretations
into something they like or admire, placing it before the public as a transitional
object from which people pick up on different brushstrokes depending on how they
are feeling; thus Picasso moved from Cubism to animate beings, in a way that expressed
what he himself was feeling. There was nothing terribly extraordinary about Malaga-born
genius’s relationship with dogs, as can be glimpsed in the many photographs in which
he is pictured with one of these animals. The genius needed time to create and,
just like his father, who felt an attraction for the pigeons he painted and sometimes
fed in the Plaza de la Merced in Malaga, or admired in his friends’ dovecotes, Picasso
felt an attraction to dogs, but he did not have the time to spend on them so both
he and his father before him began to paint the animals which meant so much to them.
Once he had left his Cubist phase and his "near" social autism behind, Picasso saw
dogs as loyal animals which did not judge him or give him funny looks but, as he
was highly critical of his own emotions he did not feel either physically or emotionally
equipped to look after one of these magnificent creatures, although he did feel
comfortable with them and was intrigued by the beautiful bond between men and dogs.
As a result of this, although dogs are a constant in the maestro from Malaga’s painting,
and he enjoyed not only painting them but being photographed with them doing all
sorts of everyday things, as we have noted above, he never wanted to own a dog himself,
instead passing the responsibility on to his partner or children, or else he would
simply look after a friend’s pet for a while or paint and draw animals he knew and
liked.
Psychology tells us that if we ask children to draw an animal, their choices can
tell us something about their characters and certain hidden desires. Children who
choose to draw a dog show a kind-hearted, loyal character, effectively depending
on the people close to them, and their generosity is firmly based on the need to
have lots of friends around them with whom they can play, amuse themselves and have
fun. This is the prototype of the "pampered" child and if they are unable to gain
their companions’ approval, they become sad and melancholic. Although usually generous,
sometimes when asked to do something they may start grumbling and snorting, in other
words protesting, but this soon passes. Another ability that children of this kind
have is that they can seem to have a sixth sense about people... THEY CAN GROW UP
TO BE GREAT SEEKERS, RESEARCHERS, POLICE OFFICERS, PSYCHOLOGISTS OR CREATIVE ARTISTS
- Picasso was a seeker, a researcher and a great creative artist.
This hypothesis about Picasso’s character is something I share with the dog breeder
and psychologist Dr V.G. Mancuso. In his case it is due to his profession and in
my own also because of the fact that I have studied morphopsychology and graphology.
From one of the great biographers of the painter and his work, Rafael Inglada, and
also from notes taken from my own personal archive, what follows is a list of animals
which accompanied Picasso, either in his life or work, or in both facets:
Clipper (La Coruña, 1891-1895), a "mutt" he painted in 1895. He was not the
dog’s owner.
Feo (Paris, circa 1904), another "mutt" he painted in 1904-1905. He was not
the dog’s owner.
FRIKA, a mixed-breed bitch which Picasso and Fernande Olivier took along
for company firstly in the Bateau-Lavoir (circa 1904-1909). Soon afterwards they
took in another dog, *Gat. In 1907, and Picasso did drawings of the dog with
her
pups. In 1909, when he moved to 11 Boulevard de Clichy, Frika once again
lived with
Picasso, alongside *Monina and a few *cats. A year later (1910), she travelled with
Picasso and Olivier to Cadaqués. In 1912, after Picasso’s relationship with Fernande
Olivier ended, the bitch was left in the hands of Georges Braque for a number of
days, and when the latter was sent to Céret, Picasso and Eva Gouel looked after
her.
GAT. The dog which accompanied Picasso – together with *Frika – in
the Bateau-Lavoir
for a while (1904-1905). In December 1904, Picasso produced a pencil drawing on
paper called “The actor”, a character study with heads of Fernande in profile, hands,
ear and the dog Gat (private collection). She may have died in 1906.
A wire fox terrier whose name we do not know. A dog which may have been given
to Picasso and Fernande Olivier by Miquel Utrillo in Barcelona, when the pair of
them travelled to Gósol (Lleida) in May 1906. From there they wrote to Guillaume
Apollinaire on 21st June of that year, telling him that they had been
given the
dog in Barcelona.
Sentinelle (Avignon, 1914), another dog he looked after, although it actually
belonged to the painter André Derain, who also drew it.
Bob (Boisgeloup, 1930s), a Saint Bernard. We do not know for certain whether
it belonged to him or was lent to him temporarily by friends.
Noisette (Paris, 1930s), an Airedale which was taken on a trip to Barcelona
in 1933 (he appears to have owned this dog). This was a breed that was very popular
with the intellectuals of the time, as was the case with Francisco Pino, a famous
poet from Valladolid.
Ricky (Paris, 1940s), a poodle, which seems to have belonged to his daughter
Maya.
Kasbek (Paris, 1940s), an Afghan which he drew on various occasions in the
1940s.
Yan (Cannes, 1950s), a boxer which he also painted.
Lump (Cannes, 1950s), a dachshund which belonged to Duncan and which he painted
on a plate. The dog died in 1973, the same year as Picasso himself.
Perro (Cannes-Vauvenargues, 1950s-60), a Dalmatian, painted by Picasso on
numerous occasions, the dog did not belong to him.
Kaboul (Vauvenargues-Mougins, 1960s), an Afghan.
Sauterelle (Mougins, 1960s-1970s), an Afghan.
Igor (Mougins, 1970s), an Afghan which belonged to Jacqueline and died after
Picasso.
Conclusion: The great legend of twentieth century Cubist painting liked dogs, but
never really had one of his own. Instead he delegated responsibility for the animal
and looking after it to his family, friends or partners because, in a self-critical
sense, he had the self-awareness to realise that he would not be a good owner for
an animal. To paraphrase Saint-Exupéry, Picasso never had the privilege of allowing
himself to be domesticated by this wonderful animal.
Dr Vincenzo Gianluca Mancuso (psychological part) and Rafael Fernández de Zafra
(historical part)