Rendezvous in Paris Page #6

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That's just how it is.

Let's go that way.

There it is.

I can't come with you,

it's a bad time today.

I'm in a very good phase right now.

If i see Picasso now,

i'll get confused. I have to stay alone.

Can you understand that?

A different day

would've been better for you.

We meet tonight. Then you can

tell me about your impressions.

Not if you can see them.

Not if you can see them.

Let's meet at 8 at "Coupole"

at the Montparnasse. Do you know where?

Yes.

Have fun at the museum.

- See you tonight.

How right i was when i said

that Picasso's influence is awful!

Whenever one talks about him,

he doesn't let go.

When i left i thought about a painting,

and to get rid of it

i had to see it.

Otherwise i won't be able to paint.

Which painting?

It's overthere.

Do you like the museum?

- Yes, especially this painting there.

That one's horrible.

- No! It's got such happy colours.

They're lively.

- Yes, happy.

I find the painting horrible.

It looks like her inside is showing,

like the skin of a rabbit.

That was Picasso's dilemma: That one can't show

the face and the profile at the same time.

The inside and the outside.

Maybe, but i like it.

We move on?

Do you like this?

Not particularly.

It's not a real Picasso.

Picasso is never Picasso.

That's why he's always Picasso.

I feel the cubism behind it.

How do you like cubism?

I like collages a lot.

That's very decorative, but not only.

Shall we look at mine?

There it is.

Excuse me please!

I don't like it.

These colours... Like a pink pig.

Do you like it?

It took very long,

but i find it very strong.

Maybe the most mature precubistic work.

Picasso was a master of line management.

He could have taken the direction of Matisse.

These colours are very primal,

very deep.

I love this blue and the green

and these two shades of brick red.

There the steak and here the bacon.

- That's tough.

I wouldn't hang it.

- Me neither probably.

From the black art period.

But for Picasso's history of development

it's essential.

Let's look at the pink period

to see the transitions, ok?

And this one? Do you like it?

- Not particularly.

That's also no Picasso for me.

He hasn't found his style yet.

I just wanted to see

the other painting again.

If i look at everything now,

i won't ever be able to paint again.

I better go. See you tonight.

- Goodbye.

I'm really sorry.

But once you have an inspiration..

I understand.

- Goodbye.

Excuse me!

You probably think that i'm following you.

- You can walk behind me if you please.

You're wrong. I'm following you.

- And the woman you were with?

I left her to follow you.

- You shouldn't have done that.

You're just wasting your time with me.

- Not as much as with her. I don't care about her.

She's a pretty girl.

- Not as pretty as you.

You're really wasting your time.

I'm about to meet my husband,

and in two hours we're leaving for Geneva.

Go back to her!

- I wanted to go home anyway.

Can i at least ask you something?

Why are you interested in the painting

"Mother and Child, 1970"?

I'm interested in all paintings.

My husband is an art publisher

and i'm testing the quality

of the prints for him.

I compare the real colours

with those of the test prints.

But it's true, i like the painting.

The colours are really very inventive

but very hard to reproduce.

Especially the shades of red.

- Is it a book about Picasso?

No.

About the subject "Mother and Child".

- I never dared to do that.

You're a painter!

- Don't i look like one?

Yes. I thought so actually.

Because i talked about the painting like that?

- You could've been a teacher aswell.

You had the look of a painter,

not a guy that hits on girls.

You're disappointing me.

How can you run after me

when you have such pretty company?

You won't let her go?

Would you care?

- You're a pretty couple.

We'd be an even prettier one.

- That's enough!

Why aren't you inspired

by the subject of mother and child?

I said i never dared to try it.

You don't have children?

- No, and you?

Not yet.

I just got married.

- And you let other men talk to you!

I'm confident.

I'm only interested in one man,

and all people that make me curious.

Like me.

Like me.

Do you live here?

- I have my studio here.

Can i take a look at your paintings?

- Today it's...

If you mind, forget about it.

- No, no, it's just messy.

I'd be surprised if you liked them.

- My taste isn't important.

I said it because of you.

- Ten wasted minutes!

Would you like to drink something?

- No, thanks.

I have a date at a caf soon.

Are all these yours?

- Yes. Do you find them very oppositional?

Yes, very.

May i see?

- Yes. Don't worry, they're fixed.

Which one is the newest?

- They're all relatively new.

The old ones are in the shelves.

- And these? Are that studies or paintings?

I don't know.

For me they're studies.

But if someone wants to buy them...

But something like that doesn't sell well.

Do you find it photographic?

I wouldn't say that.

- But it is.

I'm the camera:

Infront of a landscape i turn into a camera.

Later in the studio i see it differently.

If the landscape is perfect,

why should i change it?

- So you're representing the hyperrealism?

No. That was a dead end aswell.

I'm still searching.

Nothing's coming out of these landscapes,

at least not directly.

If something's coming out,

it has to be good.

If something's coming out,

it has to be good.

I can't see the connection.

- Maybe you'll understand it now.

Come!

You see?

Also here. I care about space,

the sky, the line at the horizon.

Simply through the light

i try to show that the earth is curved.

If Picasso misses anything,

it's the light, space.

Maybe he thought light and space

would be good for a photo.

But that's not true.

Instead i turn into a camera.

That's something completely different.

That's something completely different.

Have i made myself clear enough?

- Yes. I think i understood.

I like that you're searching.

You're not that mainstream.

But i just can't judge

contemporary painters.

It's always good

to show your work to strangers.

It's always good

to show your work to strangers.

I mean, that i interrupted

your idyll with the blonde girl.

It was no idyll. I already told you

that i'm not interested in her.

At the most as a model. She'd be good

for that. Picasso could have painted her.

You're mean!

Why?

Picasso only loved beautiful women.

Don't you think that she resembles

Dora Maar or Jacqueline, his last wife?

Yes. One could paint her with one eye

in the front and the other one in profile.

You should get married.

You're fast!

And me? Would you like painting me?

- Yes, but that wasn't what came to my mind

when i saw you.

I didn't have the painter's view then.

This girl makes you insecure.

- Her? No way. Less than you!

I have problems with that kind of girls.

- What girls?

With tourists.

- I'm one aswell.

You're not.

I'll tell you something:

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