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 As the first blog entry got exhausted. My second book |
| Evolution of Love Part 2 |
| She was 21. He was 61. And when she tried to leave him, Pablo Picasso looked at her and laughed: "Nobody leaves Picasso." She walked out anyway—and became the only woman who ever did. Pablo Picasso destroyed women. Not metaphorically. Literally. Marie-Thérèse Walter, his lover, hanged herself four years after he died—unable to live without him even in death. Dora Maar, the brilliant photographer he painted as "The Weeping Woman," spent years in psychiatric care after he discarded her. Jacqueline Roque, his second wife, shot herself thirteen years after his death. The pattern was always the same: Picasso would find a young, talented woman. He would consume her—her youth, her art, her identity. He would paint her obsessively, immortalizing her on canvas while systematically destroying her in life. Then, when he was finished, he would move on to the next one. He called women "goddesses or doormats." He also called them "machines for suffering." And for decades, no woman ever escaped him. They either stayed until he left them, or they shattered trying. Until Françoise Gilot. Paris, 1943. The city was dark, occupied by Nazis, its cafés half-empty and tense. Inside one smoke-filled room, 21-year-old Françoise—a painting student with fierce intelligence and even fiercer eyes—met the 61-year-old Pablo Picasso. He looked at her and said, "You're so young. I could be your father." She met his gaze without flinching. "You're not my father." That was Françoise—steel wrapped in grace. For ten years, she lived in his orbit. She painted. She loved him. She gave him two children—Claude and Paloma. He painted her hundreds of times, called her his muse, his "woman who saw too much." But Françoise saw what the others hadn't: she saw the trap. "I loved him," she would later say, "but I also saw how he needed to destroy the thing he loved most." By the early 1950s, the mask had slipped. Picasso—who once courted her with charm and genius—had become cruel. He demanded worship, not partnership. Every conversation became a power struggle. Every silence, psychological warfare. He pitted her against his other women. He belittled her art. He raged when she showed independence. "He wanted to be both God and the child," Françoise recalled. "And there was no room for anyone else in that universe." Other women had broken under this treatment. Dora Maar had tried to fight back and ended up institutionalized. Marie-Thérèse had accepted her role as the perpetual mistress, waiting for scraps of his attention. But Françoise was different. One morning in 1953, after another night of shouting and manipulation, she stood in their villa in Vallauris and looked at herself in the mirror. She was only thirty-two, but felt ancient. Behind her, Picasso's paintings covered every wall like watchful eyes. She saw herself clearly for the first time in years. She turned to him and said quietly, "I'm leaving." Picasso laughed. It was a cold, disbelieving laugh—the laugh of a man who had never been refused. "You can't leave me. Nobody leaves Picasso." But she did. She packed her things. She took her children. And she walked out of the villa, out of his shadow, out of his control. No drama. No breakdown. Just the quiet power of a woman reclaiming her soul. "I wasn't a prisoner," she would say years later. "I came when I wanted to—and I left when I wanted to." Picasso was stunned. Then he was furious. He tried to destroy her for it. He called gallery owners across Europe and America. He told them never to show her work. He spread rumors that she was unstable, ungrateful, nothing without him. "People will never care about you," he sneered. "They'll only care that you once knew me." He used every ounce of his power—and in the art world of the 1950s, his power was absolute—to erase her from the industry. But Françoise refused to vanish. She kept painting. She raised her children alone. She rebuilt her career from scratch, gallery by gallery, painting by painting. And in 1964, she did something that shocked the art world: she published Life with Picasso—a clear-eyed, unflinching memoir that stripped away the myth and told her truth. The book was scandalous. Critics called it vengeful. Picasso's friends called it betrayal. Picasso himself tried to have it banned in France. Françoise called it freedom. "I owed the truth to other women," she said. "So they would know they could survive him too." The book became an international bestseller. For the first time, the world saw behind Picasso's genius—the cruelty, the manipulation, the systematic destruction of the women who loved him. And freedom became Françoise's masterpiece. Years after leaving Picasso, she fell in love again—with Dr. Jonas Salk, the virologist who developed the polio vaccine and saved millions of lives. The contrast was stark and perfect. "Picasso wanted to possess the world," Françoise said quietly. "Jonas wanted to heal it." She married Salk in 1970, and they remained partners until his death in 1995. With him, she found what Picasso could never give her: a love built on mutual respect rather than domination. Meanwhile, her art flourished. Her paintings—vibrant, strong, unapologetically her own—began appearing in major museums. The Met. MoMA. The Centre Pompidou. Her work spoke of survival, resilience, and rebirth. She had become exactly what Picasso feared most: an artist remembered for her own brilliance, not his. Picasso died in 1973 at age 91, surrounded by art and wealth but ultimately alone, having burned through everyone who loved him. Françoise lived until 2023, dying peacefully at age 101—outliving him by fifty years. In those fifty years, she painted, she taught, she inspired. She watched her children and grandchildren thrive. She proved that a woman could survive the most famous artist of the 20th century and emerge not as a footnote, but as a force. When asked late in life how she found the courage to walk away, she smiled and said simply: "Because freedom is the only love worth keeping." Picasso painted her face a hundred times, trying to capture her, control her, own her. But Françoise painted her own destiny. She was 21 when she met the most powerful man in the art world. She was 32 when she walked away from him. And she was 101 when she died—having spent seventy years proving that she was never his muse. She was always the artist. Pablo Picasso destroyed every woman he touched. Except one. Françoise Gilot didn't just survive Picasso. She walked out of his shadow and into her own brilliant light—and stayed there for the rest of her long, extraordinary life. Sometimes the greatest act of creation is refusing to be destroyed. |
| That incomplete movie of Amitabh Bachchan which was never released story of 'Deva'🎬 In the history of Hindi cinema, the great hero of the century Amitabh Bachchan's career has been longer than 56 years. During this time, they gave countless classics, superhit and blockbuster movies like 'Chain', 'Wall', 'Sholay', 'Amar Akbar Anthony', which still get the same love. But very few know that there was a big movie in their career that could never be released — because its shooting stopped in just 10 days. 😏 This is the story of the 80s, when Amitabh Bachchan was at the pinnacle of his career and tales of mindset between actors-directors often made headlines in the world of cinema. Sometimes even the smallest things become big, and it has an impact directly on the film. An interesting sentence was seen between Amitabh and famous filmmaker Subhash Ghai. 🤞 "Deva" project started with great expectations🎬 Subhash Ghai, who had made big identities in the industry due to successful films like ‘Kalicharan’, ‘Karj’, ‘Meri Jung’, ‘Hero’, had started a new film with Amitabh Bachchan — ‘Deva’. The film was done by Dilip Kumar himself and legendary actors like Shammi Kapoor, Raj Kumar and Meenakshi Sheshadri. Amitabh Bachchan was playing a powerful role in the film, for which he completely changed his look by growing long beard and hair. The shooting lasted about 10 days and everything looked normal. 🤌 The little thing that became big 🙂 ↔️ One day when Amitabh Bachchan was reading the script, he did not understand some scenes. He asked a crew member on set to call Subhash Ghai so he could talk to him. Simple thing, it's just normal for an artist to interact with his director, especially when he wants to dive deeper into his character. But the answer to Ghai was completely reversed. He said that if Amitabh has to ask anything, he himself should come to him. This answer surprised Amitabh. According to them it was a matter of mutual understanding and respect of the artist and director. So without arguing or displeasing, he left the set - and never returned again. Movie closed, relationship ended😱 After Amitabh Bachchan left the set, the whole team of 'Deva' got in trouble. The movie the Mega Star worked hard for weeks, the same project stopped in one day. Finally the movie was shut down forever. The most interesting - and sad - part is that Amitabh Bachchan and Subhash Ghai never worked together again after this incident. The distance between two is never ending. This anecdote is still remembered in the industry🤗 'Deva' never made, but its anecdote is still told in Bollywood. It's not just a movie story, but it tells that: Sometimes the smallest things can finish the big project, Respect and communication are the foundation of any creative relationship, And even the big stars sometimes face situations where they have to make hard decisions. This is such a chapter in Amitabh Bachchan's brilliant career, which few people know, but it reflects his professionalism and principles well. 🤨 |
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