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Book Description: 'Read this book if you want to understand me' Pablo Picasso Since the early days of his career, Brassa has been our guide to avant garde Paris. Not only was Brassa a noted photographer nicknamed 'the eye of Paris' by Henry Miller he was also a prolific author and journalist whose Letters to My Parents was named 'a small classic in the history of the medium' by Jed Perl in the New Republic. In that book, as well as many others, Brassa described, with wit and humor, the many important artists and writers with whom he developed close personal and professional relationships. Not the least among these was Picasso. Brassa recorded his many meetings and appointments with the great Spanish artist from 1943 to 1946, resulting in Conversations with Picasso. While the two artists shared the same milieu in the 1930s, it wasn't until the 1940s that they saw each other on a regular basis, when Brassa was asked to photograph Picasso's works. Brassa 's recollections of these visits offer an intimate portrait of one of the greatest artists of the twentieth century: a Picasso who described Cezanne as his 'one and only master'; a Picasso who throws a tantrum because he lost a flashlight; a Picasso who remained in Paris during the German Occupation. At the same time, these conversations are only about Picasso. They also treat everyone who comes into his life, the artistic and intellectual debates of the time, and the events of World War II. Brassa relates his encounters with Picasso in great detail, from the artist's dull wood studio floor to the smoky cafes. Conversations with Picasso gives us an intimate view of one of the most creative milieus of modern time as well as a rare look at the day to day life of Picasso, all from the original perspective of the 'eye of Paris.' Brassa (born Gyula Hal sz, 1899 1984) was a photographer, journalist, and author of photographic monographs and literary criticism, including Letters to My Parents, published by the University of Chicago Press. 'When I returned to Picasso's apartment the next day, or the day after, he impishly showed me the little forgotten photographic plate. . . . With a sharp point, his infinitely patient fingers had transformed it into a minuscule Picasso measuring six by nine centimeters. . . . It was a miniature variant of his major piece of work which today belongs to the Museum of Modern Art in New York and is titled Woman in Front of a Mirror.' from Conversations with Picasso

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