John Richardson & Gijs van Hensbergen

John Richardson & Gijs van Hensbergen

Past Event: Wednesday, December 8, 2010

At Benaroya Hall — S. Mark Taper Foundation Auditorium

Literary Arts Icon

Literary Arts

John Richardson joins art historian Gijs van Hensbergen in a conversation about Picasso. Post-lecture patron reception at the Seattle Art Museum and Picasso: Masterpieces from the Museé National Picasso exhibit.

John Richardson brings into crystalline focus not only the works of art he writes about, but also—and with great verve—the personality of the artist and the ambience of his milieux. In an article from last year on Francis Bacon: A Centenary Exhibition, for instance, Richardson wrote: “My admiration [for Bacon] dates back to World War II, when, like many another art student, I was captivated by an illustration of a 1933 painting entitled Crucifixion in a popular book called Art Now, by Britain’s token modernist, Herbert Read…. Read’s text was dim and theoretical, but his ragbag of black-and-white illustrations—by the giants of modernism, as well as the chauvinistic author’s pets—was the only corpus of plates then available. This Crucifixion—a cruciform gush of sperm against a night sky, prescient of searchlights in the blitz—was irresistibly eye-catching. But who Bacon was, nobody seemed to know.”

Richardson’s writing is a tour de force that does not suffer from shyness of opinion or understatement of artistic intent; it speaks with a singular expression that’s both evocative and picturesque—and fully revealing of its subject.

Born in London in the 1920s, Richard attended the Slade School of Art and worked for a time as the art and ballet critic for The New Statesman. After moving to the United States in 1960, Richardson organized a major retrospective of work by Pablo Picasso that was held at nine New York galleries. For many years he headed Christie’s American operations, which he was instrumental in setting up. This work took him to cities around the country, including Seattle, a place he found “fascinating” and “very active artistically.” In 1980, he became a full-time writer and editor, and continues to organize exhibitions, such as the very well-reviewed, “museum worthy” Picasso: Mosqueteros at the Gagosian Gallery in New York City (spring 2009) and Picasso: The Mediterranean Years (1945-1962) at the Gagosian Gallery in London (summer 2010), both curated in partnership with Picasso’s grandson Bernard Ruiz-Picasso.

What became Richardson’s life’s work, though, had its genesis in the 1950s when he lived in Provence, working with Douglas Cooper to turn the Chateau de Castille into a private museum of cubist art. Pablo Picasso and his second wife, Jacqueline Roque, were neighbors and frequent visitors, as were Georges Braque, Fernand Léger, and Jean Cocteau. Picasso and Richardson became friends during these years, and the latter was able to observe and confirm firsthand the truth of the artist’s statement to him, “My work is like a diary. To understand it, you have to see how it mirrors my life.”

This monumental project depicting Picasso’s life and work is contained in the three- soon to be four-volume Life of Picasso. This masterwork begins with the artist’s early days in The Prodigy, 1881-1906; continues through the creation/evolution of cubism in The Cubist Rebel: 1907-1916; and extends, so far, through The Triumphant Years, 1917-1932. The fourth and final volume, being written by Richardson and art historian Gijs van Hensbergen, covers Picasso’s last forty years, the final decade of which (1963-73), has been characterized as a period that “is among the greatest demonstrations of his constant invention of the new, in terms of style, technique, and subject, and, indeed, in relation to the history of his own creative output.”

Richardson also has written for The New York Review of BooksThe New Yorker, and Vanity Fair. In 1993 he was made a Corresponding Fellow of the British Academy; in 1995-96 he served as the Slade Professor of Fine Art at Oxford University.

Selected WorkWarhol from the Sonnabend Collection (with Brenda Richardson, 2009)Sacred Monsters, Sacred Masters: Beaton, Capote, Dalí, Picasso, Freud, Warhol, and More (2001)The Sorcerer’s Apprentice: Picasso, Provence, and Douglas Cooper (1999)A Life of Picasso, Volumes I-III (1996-2007)

LinksSeattle Art Museum’s Picasso: Masterpieces from the Museé National Picasso http://www.picassoinseattle.org/learn.html

Richardson’s review of the Tate’s Francis Bacon retrospective in The New York Review of Books http://www.nybooks.com/articles/archives/2009/dec/17/bacon-agonistes/

Essay: How Political Was Picasso? (NY Review of Books)http://www.nybooks.com/articles/archives/2010/nov/25/how-political-was-picasso/ Biography (Vanity Fair)http://www.vanityfair.com/contributors/john-richardson Interview: Richardson on Charlie Rosehttp://www.charlierose.com/view/interview/3586

Event Details

Benaroya Hall — S. Mark Taper Foundation Auditorium

200 University Street
Seattle, WA 98101

View directions.

Transportation & Parking

This event will be held in the S. Mark Taper Foundation Auditorium, the largest event space at Benaroya Hall. 

Benaroya Hall is located at 200 University Street, directly across Second Avenue from the Seattle Art Museum. The public entrance to Benaroya Hall is along Third Avenue.

  • From Southbound I-5
    Take the Union Street exit (#165B). Continue onto Union Street and proceed approximately five blocks to Second Avenue. Turn left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.
  • From Northbound I-5
    Exit left onto Seneca Street (exit #165). Proceed two blocks and turn right onto Fourth Avenue. Continue two blocks. Turn left onto Union Street. Continue two blocks. Turn left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.
  • From Northbound Highway 99 (Aurora Avenue)
    Take the Seneca Street exit and move into the left lane. Turn left onto First Avenue and proceed one block. Take the next right (at the Hammering Man sculpture) onto University Street. Continue up the hill two blocks to Third Avenue. Turn left onto Third Avenue. Continue to the next block and turn left onto Union Street. Make the next left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.
  • From Southbound Highway 99 (Aurora Avenue)
    Take the Denny Way/Downtown exit. Keep right and cross over Denny Way onto Wall Street. Proceed approximately five blocks and turn left onto Second Avenue. Continue south on Second Avenue approximately eight blocks. The Benaroya Hall parking garage will be on your left. The garage entrance is on Second Avenue, just south of Union Street.

By Bus
Benaroya Hall is served by numerous bus routes. Digital reader boards along Third Avenue display real-time bus arrival information. For details and trip planning tools, call Metro Rider Information at 206.553.3000 (voice) or 206.684.1739 (TDD), or visit Metro online. The Downtown Seattle Transit Tunnel, served by bus and light rail, has a stop just below the Hall (University Street Station).

Parking
The 430-car underground garage at Benaroya Hall provides direct access from the enclosed parking area into the Hall via elevators leading to The Boeing Company Gallery. Enter the garage on Second Avenue, just south of Union Street. Maximum vehicle height is 6’8″. Blink charging stations are available for electric vehicles. The event rate is $16.

Parking is also available at:

  • The Cobb Building (enter on University Street between Third and Fourth avenues).
  • The Russell Investments Center (enter on Union Street between First and Second avenues).
  • There are many other garages within a one-block radius of Benaroya Hall, along with numerous on-street parking options.

Accessibility

Open Captioning is an option for people who have hearing loss, where a captioning screen displaying the words that are spoken or sung is placed on stage. This option is present at every event at Benaroya Hall in our 2019/20 Season.

Assisted Listening Devices (ALDs) are devices that people with hearing loss use in conjunction with their hearing device (hearing aids or cochlear implants). Benaroya Hall has an infrared hearing system, which transmits sound by light beams. Headsets are available in The Boeing Company Gallery coat check and the Head Usher stations in both lobbies.

Sign Language Interpretation is available upon request for Deaf, DeafBlind, and hard of hearing individuals. To make a request for ASL interpretation, please contact us at boxoffice@lectures.org or 206.621.2230×10. Please note: we appreciate a two-week advance notice to allow us time to secure interpretation.

Wheelchair Accessible Seating and Accessible Restrooms are available in all sections at our venues, and our venues are fully accessible to ticket holders with physical mobility concerns. Guide and service dogs are also welcome. Among other features, Benaroya Hall has designated parking spaces adjacent to elevators in their parking garage. Elevators with Braille signage go to all levels within the Hall. A unisex restroom is also available. For more details on their accessibility features, click here.

We are pleased to offer these accessibility services at our venues, and they are provided at no additional cost to ticket holders. Please contact us with any questions and feedback about how we can be more accessible and inclusive.  Our Patron Services Manager is available at boxoffice@lectures.org, or Monday-Thursday from 10:00am – 5:00pm, and Fridays from 10:00am – 1:00pm, at 206.621.2230×10.