Look at the creative process of Pablo Picasso taking place in real time: rare images show it to create drawings of faces, bulls and chickens

Pablo Picasso was born shortly before the invention of the film. With a different set of inclinations, he could have become one of the most daring pioneers of this medium. Instead, as we know, he mastered and practically reinvented the much older artistic form of painting. That said, the cinema seemed to have been fascinated both by the work of Picasso and the man himself. He made a cameo appearance in Jean Cocteau Orpheus will In 1960, a few years after playing the title role in the documentary of Henri-Georges Clouzot The Picasso mystery. The short clip of the latter above Show how Picasso could create an expressive face with only a few pen of pen.

When he did The Picasso mysteryClouzot was already well established as a director of high genre films, having just made Fear wages Or (Fear wages) And Diabolics (Or Diabolical), which would prove to be one of his determining works.

For the moviegoers who follow his career, it can be surprising to see him follow them with a documentary on a painter: a genius, yes, but the one whose work had already seemed familiar. But Clouzot took as his task without telling the story of The Demoiselles d'Avignon Or Three musicians Or WarnicaBut capturing Picasso (whom he had known since his adolescence) in the act of creating new works of art – works never seen except on the film.

It was the idea, in any case; Although most of the 20 paintings and drawings created just for The mystery Picasso were destroyed, some were not. One of these survivors, a chicken viewing that has become an avilière that emerges in One of the most tense sequences in the film (An intersection of the artistic instincts of Clouzot and Picasso) was restored a few years ago for inclusion in the exhibition of the Royal Academy of Arts Picasso and paper. He could also work on glass, as evidenced The clip just above Since Visit to PicassoA short circuit of the 1949 documentary by Belgian filmmaker Paul Haesaerts. He painted there – in less than 30 seconds, with the camera running just on the other side of the component – an image evocative of a bull, demonstrating that, no matter how fully he was embraced by the French -speaking world, a Spaniard he has remained.

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Based in Seoul, Colin MArshall Written and broadcastTS on cities, language and culture. His projects include the substack newsletter Books on cities And the book The stateless city: a walk through Los Angeles from the 21st century. Follow it on the social network formerly known as Twitter in @ColinmArshall.