[1] A. Liberman, The Artist in His Studio, London, 1969, p. 113.
[2] A. Salmon, La Jeune peinture française, Paris, 1912, p. 42.
[3] D.-H. Kahnweiler, My Galleries and Painters, New York, 1971, p. 39.
[4] D. Ashton, Picasso on Art. A Selection of Views, New York, 1972, p. 163.
[5] P. Daix, “Il n’y a pas ‘d’art nègre’ dans Les Demoiselles d’Avignon”, Gazette des Beaux-Arts, October 1970, p. 267.
[6] A. Malraux, La Tête d’obsidienne, Paris, 1974, p. 131.
[7] See the works of Daix, Johnson, Steinberg and Rubin in the Selected Bibliography.
[8] G. Burgess, “The Wild Men of Paris”, The Architectural Record, New York, XXVII, May 1910, pp. 400-414.
[9] J. W. von Goethe, Dichtung and Wahrheit, Book 9.
[10] A. Malraux, op. cit., p. 17.
[11] J. Gonzáles, “Picasso sculpteur”, Cahiers d’art, Paris, 1936, vol. 11, p. 189.
[12] P. Daix, J. Rosselet, Le Cubisme de Picasso. Catalogue raisonné de l’œuvre. 1907-1916, Neuchâtel, 1979, p. 169.
[13] Ibid, pp. 9, 183-184, 187, 188.
[14] L. Steinberg, “Resisting Cézanne: Picasso’s Three Women”, Art in America, November-December 1978, p. 120.
[15] E. Fry, Cubism, New York, Toronto, 1966, p. 18; W. Rubin, “Cézannism and the Beginnings of Cubism”, Cézanne, The Late Work, New York, 1977, p. 7.
[16] D. Ashton, op. cit., p. 116.
[17] D. Vallier, “Braque, la peinture et nous”, Cahiers d’Art, October 1954, p. 16.
[18] P. Daix, J. Rosselet, op. cit., pp. 227f (intr. 8), 233 (intr. 9).
[19] J. Golding, Cubism: A History and an Analysis, 1907-1914, Boston, Mass., 1968, p. 15.
[20] D. Vallier, op. cit., p. 16.
[21] S. Fauchereau, La Révolution cubiste, Paris, 1982, p. 26.
[22] J. Golding, “Cubism”, Concepts of Modern Art, ed. N. Stangos, London, 1981, p. 55.
[23] D. Ashton, op. cit., p. 62.
[24] Ibid., pp. 59, 60.
[25] R. Penrose, Picasso: His Life and Work, London, 1958, p. 160.
[26] P. Daix, La Vie de peintre de Pablo Picasso, Paris, 1977, pp. 102, 103.
[27] G. Chulkov, “Demons and Contemporaneity (Some Ideas on French Painting)”, Apollon, 1914, Nos. 1, 2, p. 74 (in Russian).
[28] J. Flamm, Matisse on Art, New York, 1978, p. 134.
[29] D. Ashton, op. cit, p. 5 (interview with Marius de Zayas, 1923).
[30] R. Penrose, “Introduction”, Picasso: Sculpture, Ceramics, Graphic Work (exhibition catalogue), London, 1967, p. 10.
[31] I. Aksenov, Picasso and His Environs. Moscow, 1917, p. 18 (in Russian).
[32] D. Vallier, op. cit., p. 14.
[33] Ibid., p. 16.
[34] “Ce n’est pas d’après nature que je travaille, mais devant la nature, avec elle.” Cf. E. Tériade, “En causant avec Picasso”, L’Intransigeant, 15 June 1932, (quoted from D. Ashton, op. cit., p. 18). Another quotation in Ashton’s book (p. 19) reads: “Like the Chinese, the Mexicans, I work not after nature, but like her.”
[35] J. Golding, Cubism: A History and an Analysis. 1907-1914. Boston, Mass., 1968, p. 88; E. Fry, op. cit., p. 60 (first published in J. Metzinger, “Note sur la peinture”, Pan, October-November 1910, pp. 649-651).
[36] W. Rubin, E. L. Johnson, R. Castleman, Picasso in the Collection of the Museum of Modern Art, New York, 1972, p. 72.
[37] R. Rosenblum, “Picasso and the Typography of Cubism”, Picasso in Retrospect, Icon, 1980, pp. 33-47, 183-188 (notes).
[38] E. Fry, “Braque, Cubism and the French Tradition”, Braque: The Papiers Collés, Washington, 1982, p. 49.
[39] F. Garcia Lorca, On Art, Moscou, 1971, p. 100 (from the lecture “The Poetic Image of Dons Luis de Góngora”, 1926).
[40] F. Gilot, C. Lake, Life with Picasso, New York, 1965, p. 71.
[41] Ya. Tugendhold, “The Shchukin Collection of French Paintings”, p. 35; Ya. Tugendhold, The First Museum of Modern Western Painting (The Former S. I. Shchukin Collection), p. 128 (slightly abridged).
[42] G. Chulkov, op. cit., 1914, p. 32; Ya. Tugendhold, op. cit., 1923, p. 120.
[43] I. Aksenov, op. cit., pp. 24, 26.
[44] Ibid., p. 18.
[45] Ibid., p. 44.