Anyone who has ever had the initiative to visit Paris, that is for its rich history as an artistic mecca, may have become familiar with the adoration of Parisiennes; Napoleon III and Olga Picasso, two, some would say, with as much inclination as the next, defined an era of art between Napoleon’s reign and Olga’s zenith.
Born in the Russian Empire in 1891, in what is today Ukraine, Olga’s childhood ambition to be a ballerina was the very dream that brought her face to face with Pablo. Already making a name for himself as an artist, Picasso designed the costumes for [Parade], Sergei Diaghilev’s and Jean Cocteau’s collaborative ballet, which took center stage at the Theatre du Chatelet in Paris. And as classic Picasso, propelling charm, intelligence and the spell of the artist, Olga departed the touring ballet as she delved into a freefall love affair with Picasso, who invited her back to live with him in Paris upon their return from Barcelona that very year.
Almost a year since the day they met, in 1918, Olga Khokhlova became Olga Picasso in the observation of Max Jacob and Jean Cocteau. While the Great War (the war to end all) was coming to a final yet destructive close and the Great Influenza became its predecessor, taking the life of both August and Rose Rodin, Olga became Pablo’s first wife and the mother of his first-born child and son, Paulo. The birth of Paulo was the birth of their deterioration as a couple. After discovering Pablo’s affair with his 17-year-old Paramore, Olga took Paulo and moved to southern France, filing for the divorce which Pablo would refuse due to, under French Law, having required to divide his estate evenly with Olga. Olga would be married to Picasso until her death in 1955 but with Picasso, when those four years of inseparability was abundant, Olga picked up the brush, familiarized herself with acrylic, led Pablo to place vivid vision on bland canvas, creating unimaginable masterpieces. It came be said that Olga, as his muse and wife alone, was another era in the many Pablo Picasso would begin, but the only to eroded across all the rest.
Evolutionary Biologist would postulate that monogamy for most humans is such a difficult feat inasmuch we, as a species, weren’t meant to be monogamous and with that very postulation, Pablo isn’t given an out or exclusion from breaking his vows, even in biology, a man’s crimes committed are always his to be held accountable for. If the “Non-monogamy” postulation so happens to prove solid, then too is its other half, the part which makes marriage so much more a beautiful becoming, something that endures, if love is enough to deter two humans from their own biological pull, stay afloat against the falling waves of overwhelming odds, dance in the dazzle of “temporary insanity,” an act that has been known to prolong its effects. Pablo’s legacy required 9 decades to solidify; between 1917 and 1921, was all that was needed for Olga, her reparation, the part of the estate she was denied, having endured love for such a restless soul as Pablo, so that our admiration of her sacrifice, can find its place to dance on her tongues as she once dance in Chatelet.
-Dontrell Lovet't
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