Pablo Picasso Weeping Woman with Handkerchief painting

Pablo Picasso Weeping Woman with Handkerchief paintingPablo Picasso Three Women paintingPablo Picasso Three Dancers painting
spend—a superstitious precaution which still survived from the first evening, when memories of Marseilles and Naples had even moved me to carry a preserver. The Moulay Abdullah was an orderly place, particularly in the early evening when I frequented it. I had formed an attachment for it; it was the only place of its kind I have ever found, which endowed its trade with something approaching glamour. There really was a memory of “the East,” as adolescents imagine it, in that silent courtyard with its single light, the Negro sentries on either side of the lofty Moorish arch, the black lane beyond, between the walls and the waterwheel, full of the thump and stumble of French military boots and the soft pad and rustle of the natives, the second arch into the lighted bazaar, the bright open doors and the tiled patios, the little one-roomed huts where the women stood against the lamplight—shadows without race or age—the larger houses with their bars and gramophones. I always visited the same house and the same girl—a chubby little Berber with the scarred cheeks of her people and tattooed ornaments—blue on brown—at her forehead and throat. She spoke the peculiar French which she had picked up from the soldiers and she went by