The Sorcerer's Apprentice by John Richardson, author of A Life of Picasso, is a richly entertaining memoir of life with the brilliant but controversial art expert, Douglas Cooper - a fiendish, colourful, Evelyn Waugh-like figure who single-handedly assembled the world's most important private collection of Cubist paintings.
John Richardson tells the story of their ill-fated but comical association, which began in London in 1949 and moved on to the Chateau de Castille, a colonnaded folly in Provence filled with masterpieces by Picasso, Braque, Leger and Juna Gris. Richardson unfurls an adventure lasting twelve years, encompassing artists and writers, collectors and the famous - Francis Bacon, Jean Cocteau, Dora Maar, Peggy Guggenheim and Anthony Blunt to name but a few. Central to the book is Richardson's close friendship with Picasso, which coincided with the emergence of the artist's new mistress, Jacqueline Roque, and which gave Richardson an inside view of the repercussions she would have on Picasso's life and work.
With an extraordinary eye for detail and ear for scandal, Richardson has written a unique saga from behind the scenes of one of the richest periods in European art.
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The sorcerer and his apprentice lived for 10 years in the grandiose "folly" Chäteau de Castille in Provence, where they entertained a circle that included Picasso, Jean Cocteau, Angus Wilson, Tennessee Williams and a range of the usual suspects from that period's artistic fraternity. When Richardson left Cooper for the lights of New York, the outrage of the spurned lover led him to burn his possessions, steal his paintings, denounce him to friends and employers, and even to attempt to arrange his arrest by Interpol. He was a duplicitous, sadistic bully, but, importantly, he was not a bore (among his more outrageous acts was loudly booing Queen Elizabeth II outside Westminster Abbey at her Coronation). Moreover, his knowledge for his subject, classical Cubism, and his pioneering collecting of the works of Picasso, Braque, Léger and Gris, were an essential counterpoint to the staid, unenlightened policy of the Tate Gallery and its director, Sir John Rothenstein, for whom he held a deteriorating scorn which finally resulted in the "Tate Affair", when Rothenstein publicly thumped Cooper. He was certainly not to first that wanted to. On occasion Richardson lapses into routine recall, but generally his delight in reviewing this formative, rites-of-passage period, re-ignites the fire in Cooper flaring nostrils, and borrows some of its flame to stoke a bitchy, enriching addendum to his Picasso magnus opus, which, appropriately, bears a dedication to his old sorcerer. --David Vincent
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