max has wings

Its such a weird story and Picasso was such a cowardly figure. The myth of the great resistor is bunk. How di he get to paint so prodigiously during the war with the finest materials available? Max Jacob knew the truth. For sure. Picasso could provide information to the gestapo on who owned  almost every painting he sold, and importantly, where the paintings were stored. These Nazi looted Picasso’s seemed like an inordinate number. Hilton Kramer even claimed that Picasso sold a painting to the Gestapo responsible for hauling Jacob away. Who knows, Picasso may have give him the artwork to get rid of an ocular and volubile piece of evidence.Jacob probably slept with him.  its a wild speculation, but Picasso through the likes of Gertrude Stein knew all the Jewish art collectors in Paris and how deep their pockets were. A little wanker like Picasso wouldn’t need much arm twisting to spit out names.

---Modigliani--- Read More:

“All of his friends were collaborators of sorts. They could have saved him, but they didn’t. They spent the war drinking Champagne.”…Upon viewing the film, it becomes clear that Aghion holds Jacob’s friends responsible for his death. First and foremost, Aghion points his finger at Picasso: “He treated Jacob like he treated his women and children. He was a man whose genius was as vast as his ego. He used Jacob and dropped him like a dirty sock.” The gap between art’s humanistic approach and the basic inhumanness and egotism of these intellectuals is very obvious Read More:

Gertrude Stein: …Max Jacob read my horoscope. It was a great honour because he wrote it down. I did not realise it then but I have since and most of all very lately, as all the young gentlemen who nowadays so much admire Max are so astonished and impressed that he wrote mine down as he has always been supposed never to write them but just to say them off hand. Well anyway I have mine and it is written. … I am afraid if she says it she means it. They did not see each other for another year and in the meantime Picasso’s little boy was born and Max Jacob was complaining that he had not been named god-father….Read More:

Max Jacob by Jean Cocteau Read More:

According to Ward Houser, Jacob was sent to concentration camp at Drancy in spite of Cocteau’s intervention on his behalf. Jacob’s fate in the cattle car was sealed by Picasso’s refusal to use his leverage to save him.

Colin Vernon:It seems unlikely that poor Max Jacob, Jewish, homosexual, (and apparently ashamed of both) posed any serious threat to the German war effort. All the same, in accordance with the official policy of the occupying authority in Paris, he was detained early in 1944 and removed to a transit camp, his ultimate destination being, it seems, a labour camp in the East where his positive contribution to that war effort would be assured. At once, the poet’s small band of admirers, led by Jean Cocteau, petitioned for his release. But the signature of a very old acquaintance was requested and refused. That signature might have carried some weight because the Germans, while not perhaps over-awed by Picasso the man, found it necessary to pay some regard to his international following and reputation. But, once again, the self-styled rebel found it convenient to keep on the right side of authority when the chips were down. Here was a pathetic creature dominated by his own fears, fancies and superstitions; a man who needed to trust his hairdresser because he feared that an enemy might work some detrimental spell if he got hold of the master’s clippings. Read More:

Cocteau by Max Jacob. Read More:

Apparently, the made of the brothel in Picasso’s Filles D’Avignon was Max Jacob’s grandmother; represented as the older looking grotesque figure. Max Jacob: ” my life is a tango, my heart- a melodrama.”


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There was a resistance, Riding notes, although it didn’t surge until later in the occupation, and writers and artists weren’t leading it. And there were prominent victims – historian Marc Bloch, poet Max Jacob, novelist Irène Némirovsky.

Riding’s survey puts the French cultural world under a reality lens that has been focused since 1971, when Marcel Ophuls’ epic documentary “The Sorrow and the Pity” reminded the public that collaboration, not resistance, was the norm.

The foulness didn’t come just from writers and artists. Heading France’s meek Vichy government was Marshal Philippe Pétain, the womanizing World War I hero who promised to be the father of a “National Revolution” built on Catholic piety and big families. The French Catholic hierarchy also served the Nazis, celebrating grand funerals for fascists killed by the resistance and almost never denouncing the killings of Jews. Read More:

Kaplan describes him as short, round, with tiny shoulders and owlish spectacles, “a man of great culture and enormous charm, capable of great loyalty and friendship … a sparkling, feared critic, a controversial political pundit, and a cultural celebrity of the extreme right”—“the James Dean of French fascism.” The dreamy, effeminate writer was also thought to be homosexual.

Brasillach vitriolically attacked the decadent Third Republic as “an old syphilitic whore, stinking of patchouli and yeast infection, still exhaling her bad odors, still standing on her sidewalk,” and blamed the left for the country’s malaise. But his criticism went beyond colorful metaphor, and he wanted his political enemies to be destroyed. As the Nazi occupiers’ principal cultural spokesman, he romanticized their political brutality. He refused to help French writers in the Resistance, like Max Jacob and Robert Desnos, who were killed by the Germans. In his most notorious statement, he ruthlessly encouraged the deportation and murder of Jews and their children, insisting that “We must separate from the Jews en bloc and not keep any little ones.” Read More:

Trevor McCandless:
I had never heard of Max Jacob. He was Jew who converted to Catholicism following a vision of Jesus. If this was his epiphany I am not sure what you would call his second holy vision. It involved him arguing with the Virgin Mary over whether he was ugly or not. It seems she presented the case for the negative (I would have told her to stick to religion). He was a room-mate of Picasso’s and a model for Modigliani. He died in a German concentration camp of pneumonia in 1944 Read More:

Hilton Kramer: By that means I got Dina Vierny freed; she was sixteen or seventeen, a Russian Jew and mistress of Maillol. I was on very good terms with them. It was the same with many others. Including Picasso. I brought up the subject with Müller in the Gestapo headquarters at the Albrechtstrasse. Picasso had been sending money to Russia via the Scandinavian countries. Cocteau had telephoned me to save him, saying I had to do something—Picasso was frightened. I knew his character—he was a great coward, he had the wind up. If the police were to lay hands on him, he might give up the ghost. I said to Müller that such a man could not be allowed to die, and that if he would not help, then I would ring up the Chancellory and tell the story there. That changed matters. He rang up Paris and gave orders to stop all activity against Picasso.

Did any of this really happen? Apparently Picasso was sending money to Spanish exiles then living in the Soviet Union, and they would have been Spanish Communists (for Stalin wasn’t in the habit of harboring social democrats), and this was indeed likely to cause trouble for him. But we cannot know if Breker, who was very friendly with Cocteau and his circle, was telling the truth, a half-truth, or just concocting a story to make himself look good after the war.Read More:—politics-in-the-Vichy-period-4518

For more on Nazi stolen Picasso art work:

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