Brassaï was introduced to Picasso in December 1932 when he was commissioned to photograph the artist’s studios in Paris and at Boisgeloup for the new Surrealist periodical Minotaure.
His success with this assignment is evidenced not only by the article published in Minotaure’s inaugural issue in June 1933, but by the fact that this was only the beginning of their friendship and professional relationship.
Picasso would allow only Brassaï to photograph his work in preparation for the book
Les Sculptures de Picasso (1949), having astutely noted the perils of an inexpertly handled camera.
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