Madame Picasso. Anne Girard

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СКАЧАТЬ of the works hung crookedly, some were straight—all vying for a cramped bit of space. Other canvases were propped against the walls, three-and four-deep; they were stacked on tables on top of loose pages filled with sketches. More were tossed onto the studio floor like litter, along with paint boxes, jars, squashed tubes of paint and rags. The sheer volume of work was astonishing. It seemed to Eva like a great creative explosion.

      But there were finer details of the place that came into focus once Eva allowed herself to breathe in and see it all. There was a small wooden animal cage on the floor, and beside it were two roughly sculpted stone heads, perched on wooden pedestals, remarkable to her for how antiquarian they appeared. The only real piece of furniture, besides an easel, was a small iron-frame bed covered over with a pretty apple-green quilt embroidered with red roses and red fringe.

      “You...live here?” she asked. She turned back to him and their eyes met.

      “Once. But not any longer. Yet, it is still the place where my soul resides.”

      Not quite knowing what he meant by that—or how to react to any of this evening—Eva picked up a sketch that was lying on the table. It was boldly erotic—two women open to an animal-like male figure with a dark forelock of hair. She had never seen anything so carnal and she felt embarrassed. Picasso looked at her unfazed.

      “It is a satyr and his nymphs,” he said.

      Eva glanced up at him, pressing back her naive shock. She could feel the hesitation in her own expression. “Is the satyr supposed to be...you?”

      “If you wish.”

      “I don’t understand.”

      Picasso shrugged and flashed his disarmingly sheepish smile. It was a response of equivocation. “I see life differently,” he said with a charmingly casual simplicity.

      “Clearly, you do.”

      Oh, dear, she should not be here, she thought, no matter what she had told herself earlier. This place was cold and plain and it felt wildly dangerous. Eva was suddenly terrified of her own innocence—of displeasing him. But there must be a first time for everyone, her conscience silently argued, and her heart raced. Her first time, here now with a great artist, would be something she would never forget. She trembled and tried her best to look mature. She felt herself being drawn into him so powerfully that she couldn’t run even if she wanted to.

      Eva pushed away the thoughts competing in her mind. Trying to buy time to process the moment, she focused on a stack of large canvases propped on the floor beneath the window. The collection of paintings had been done in rich shades of dark blues and grays, and the images at the center of each were absolutely haunting, gaunt, bereft characters. They were nothing at all like the charismatic, carefree man who had brought her here. Rather, they were people who all exemplified some dreadfully sad tale, and Eva could feel the human tragedy in each of them.

      Eva knew nothing about art. But she knew what moved her. These were powerful images, all so raw, and very different from the Cubist works at the exhibition of a sort she was told he, too, painted. Her body reacted to the drama in these before her mind could. What did it mean that he could create in two such different styles? Was there a story? Her head throbbed with a jumble of questions and emotions and it made her feel insecure to wonder about them. Clearly there was more to Picasso than what he had allowed her so far to see.

      Next in the stack of canvases was a portrait of a young, dark-haired man, clothed all in black with a glowing backdrop. His pale face, looking directly at the viewer, black eyes wide and plaintive, was rendered almost cadaverously white by the intense blue of the background. The face had a poignant sadness that drew her almost as profoundly as the women had.

      “Yet like the satyr, that is me also,” Picasso said, breaking the silence between them. His tone suddenly was disarmingly tentative. She felt the vulnerability in it, which was something she certainly had not expected. “Another side of me.”

      Such two starkly different sides of the same man, Eva thought—a confident young painter, handsome and sensual, and yet something far more vulnerable—as she compared the whimsically erotic sketch on the table with this self-portrait. Picasso waited patiently for Eva to react, but instead she looked away and returned her attention to the rest of the canvases against the wall. The final painting at the back of the large stack bore an image of a man’s face and head, eyes closed, painted in profile. The figure was illuminated by the stark yellow glow from a single candle. There was a bullet wound visible at his temple.

      Startled, Eva glanced back at Picasso. His wry smile had disappeared, replaced by something deeper and more somber. The anguish in his wide black eyes said that he had not wanted her to see this painting. Perhaps he had forgotten it was there.

      “Who was he?” she asked cautiously.

      “His name was Carlos Casagemas. We came to Paris together from Barcelona. He was my best friend...before he committed suicide,” Picasso replied grimly as he approached her. He changed the subject by putting his hands firmly on her upper arms and clamping them tightly.

      There was tremendous force in his grip. He was holding on to her with possession now, and his face was full of a brooding sensuality. Eva could no longer think as the sound of her own heart pulsing filled her ears.

      Picasso released one of Eva’s arms and began to slowly unbutton her white cotton blouse as he locked his gaze onto hers again. He was nothing like the boys she had known in Vincennes. Nothing at all like Louis. He pressed the full length of his body against her then as he had done outside. He breathed softly against her neck as his warm fingertips met the skin of her bare breast. He withdrew slightly and challenged her to look away from his gaze.

      “I’m not an expert but the way you are staring at me right now is not how an artist properly assesses a model. I live with enough artists around me to know that much,” she nervously murmured. Yet the words came as a weak refrain. “Was that not, after all, why you invited me here, to model for you?”

      She tried desperately to press back her deepening arousal. She glanced at the bed in the alcove. When she turned back, Picasso closed the gap between them with a sudden, sensual kiss and Eva moved willingly into his embrace.

      His fingers ran over the hard point of one nipple and then the other as he kissed her more deeply, filling her mouth with his tongue.

      “I want to see all of you,” he said in a throaty Spanish whisper.

      Was it his fame, how shatteringly attractive he was or his surprise possession of her that was most alluring? She had not fully imagined any of this an hour ago as she had stood in the actress’s dressing room. What was happening was so forbidden—surely a sin. It was certainly wrong, yet she wanted it just as much as he did. They moved together as one—still kissing, touching, bound by each other—to the little bed in the corner of the room. Their kisses grew more urgent and Eva lost sight of the paintings, of their conversation, of all rational thought. The rough need flaring through Picasso’s warm lips finally took total control of her. She felt her body open to him even before either of them were bare. She was aware of the ache for him deep inside herself as he stripped off her skirt, her stockings, her camisole and her drawers, as he caressed her body, lingering skillfully on every tingling curve and rise of flesh. Please let me be good enough for him, she desperately thought.

      He released himself from her for a moment to draw off his own clothes. Then, with moonlight shining through the window on him, he paused before her, naked and unashamed.

      They did not speak further. There was no need for it.

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