The communication aims to explain the role of Jaume Sabartés (1881-1968) in the construction of the biography of Pablo Picasso. Friends from when they met in Barcelona in 1899, 1904 would be the year of inflexion in his life: Picasso would settle down to live definitively in Paris and Sabartés would go to Guatemala. The journey of life of Sabartés ended on 12th November 1935, when he settled down in Paris to be personal secretary of Picasso. The memories from youth, the everyday conversations about the past and the present recuperated, as well as the research into the family origins of the artist, would be the sensitive material that Sabartés would use in his writings.
The friendship between both figures would be outlined as the engine for the writing and of how it was Picasso himself who incited Sabartés into writing. The communication will focus on the texts about the life and work of the artist, without tackling the literary aspect of Jaume Sabartés, which started at the beginning of the 20th century in the magazines Joventut and Pèl i ploma.
The bibliographic corpus of Sabartés will be exposed that stretches from 1936 to 1968, the year of his death. Aspects will be dealt with related to the edition of these texts and the network of relations that cover translations, editorials, etc. A series of more than 30 texts that have suffered the vicissitudes typical of the historical context that both characters lived, the Franco regime and voluntary exile. Some unpublished, and others only published as translations into French or Italian, the communication will present a project of the Museum, of critical publication of these texts in Spanish and Catalan.
Based on the longer and more ambitious texts such as, for example the book of memoires, Picasso: retratos y recuerdos (Picasso: portraits and memories) or the documentary biography, Picasso: documents iconographiques, (Picasso: iconographic documents), an itinerary will be carried out around the large collection of the briefest writings that tackle diverse aspects both of the biography, as well as the work of the artist. Texts that always talk in the first person about the work process of Picasso, from the point of view of an exceptional spectator, and that shun in a voluntary way, the academic and historiographic form.