
To explore the life of Pablo Picasso (1881–1973) is to explore the life of a man who left a huge mark on art, so huge a mark that to take him out of the picture would be, well, unthinkable. To better understand the man, we have this new graphic novel, published by SelfMadeHero, simply entitled, “Pablo.”
How better to get a grip on the man behind the legend than to explore his early years. And who better to guide us than the woman in his young life, Fernande Olivier. This is no simple story of love, or friendship, or an artist’s development. This is the great Picasso, after all. However, with Fernande’s help, we get a down to earth look at him. The creators of this graphic novel have placed Fernande in the role she had always aspired to, that of storyteller. Through the script by Julie Birmant and the artwork by Clément Oubrerie, we get one of the most lucid depictions of the life of Picasso, one of the most celebrated and enigmatic of public figures.

Fernande. Who was this person? Fernande Olivier (born Amélie Lang; 1881–1966) would become a well-known artist’s model and, ultimately, a writer. She was involved with Picasso from 1904 to 1911. She was one of the models for Picasso’s landmark work, “Les Demoiselles d’Avignon.” Picasso would paint her over one hundred times. Fernande’s memoir entitled, “Picasso and his Friends,” was published in 1930. It outraged Picasso and led to her agreeing not to publish any more details about their time together until after their deaths. Without a doubt, Picasso would not be pleased with this new graphic novel. Fernande is not a woman easily impressed with Picasso’s antics. As we see here, she is a veteran of Parisian art circles. And she proves quite a match for him.

Picasso. The world would know his name. But, as for Fernande, there came a point when she no longer had a place in his life. As his star ascended, she only reminded him of the hard times. Julie Birmant and Clément Oubrerie depict a career that began in poverty and reached its climax with the advent of cubism and modern art. We see Picasso’s art develop through friendships with poets Max Jacob and Guillaume Apollinaire, the painter Georges Braque, and his great rival Henri Matisse. And all through, arguably, the most fruitful and significant time in his career, there was Fernande.
This is a book that provides a fresh new look at Paris, the capital of the art world at the turn of the 20th century. Julie Birmant gives a nod to younger readers by including such terms and phrases as “awesome” and “kill me now” in the dialogue. It’s not overdone and adds a contemporary feel to the action. For the most part, the narrative is straightforward and peppered with intriguing bits of insight. Here, for instance, is a description of the first time that Fernande saw Picasso’s studio: “I still remember the smell: a mixture of wet dog, oil, dust and tobacco…the smell of work.”
This is a very honest and beautiful work. It will appeal to all ages from teen on up. It’s a frank look at the artist’s life and just goes to show that even the great Picasso had to start somewhere and he did not do it alone. In many ways, it’s the very same path that any young artist takes today, including the revelations from reading Rimbaud. Picasso lived that life long before Millennials and this book does a wonderful job of bridging that gap. The young Picasso is made quite relatable and would fit right in any coffee shop today.
“Pablo” is a 344-page trade paperback, published by SelfMadeHero. It is available as of May 5, 2015. For more details, visit our friends at SelfMadeHero right here. You can also find it at Amazon right here.
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The New York Times Declares Graphic Novels to be ‘Summer Reveries.’ Huh?
Panel excerpt from Fatale Deluxe Edition: Volume I, one of the titles on Dana Jennings’ summer comics reading list in The New York Times.
I love to read The New York Times. I like the idea of The New York Times and I actually enjoy reading it. No problem. It can be quite pretentious but I’ve had delightfully pretentious friends over the years. I may still have a few. So, what’s my problem? Okay, here’s the thing, The New York Times offers up the backpage to its Friday arts section (read it here) to the subject of comics and graphic novels. We are told that there’s nothing quite like a graphic novel on a long summer’s day. And then we get a hodgepodge random list of ten books. They’re all labeled as “graphic novels” while three are actually collections of comic strips. Have at it, folks, enjoy your funny books.
This piece was written by Dana Jennings. He is bravely representing the comics geek at the office (at the dentist’s, wherever, you decide) that we’re not supposed to quite understand. And we’re not supposed to understand him (or possibly her but the stereotype would be “he”) because, as The New York Times implies by this ever so brief offering, graphic novels remain something of a curiosity. Sure, The New York Times includes a category for graphic novel bestsellers but that was inevitable.
So, if The New York Times is really serious about graphic novels, and the comics medium in general, then they need to treat the subject with the respect it deserves.
Again, I love The New York Times. I’m sure they have it in them to provide far more accurate and in depth coverage of the leading art form of the day. Seriously, I’d be happy to work with them in this noble endeavor.
Quite seriously, I believe it’s outdated to need to introduce the world of comics as if it’s an oddball relative. Would you relegate the world of contemporary painting to an arts backpage and then highlight ten works from various times and places and offer it up as a quick look at some “summer reveries”? No, you wouldn’t.
It’s not the comics medium that is this curious little creature. It’s articles like this one that are quite curious indeed.
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Filed under Art, comic books, Comics, graphic novels, The New York Times
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