Word: painters
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...sculptures by Diego Giacometti and a collage by Clave. The exchange began by accident 14 years ago, soon after the mustachioed little tailor, an expatriate Italian from the mountain village of Bellona near Naples, and his wife Slava opened shop on the Riviera. One day the Florentine ceramist and painter Manfredo Borsi ordered a suit. "If you prefer," Borsi imperiously suggested, "I will pay you with one of my paintings." Sapone did not really prefer. "I had never looked at a painting in my whole life," he recalls. "I looked at women." Overwhelmed by Borsi's forceful manner, however...
Audacious Initiatives. One artist led to another. Poet-Painter André Verdet ordered a sport coat of grey velvet curtain material. Picasso took one look at Verdet's coat and was off to see the tailor. The two men hit it off instantly, and after Sapone had cooked Picasso some Neapolitan spaghetti, the artist gave him three lithographs and an order to "sew something...
Strutting Peacocks. Sapone's flourishing trade belies the image of the painter as a rather threadbare chap. The younger and more impecunious may seem indifferent toward clothes, but the more prosperous often prove to be strutting peacocks. Before Sculptor Jean Arp died in 1966, recalls the tailor, "he would walk through a party in Paris, twiddle with his lapels and say to people, 'Sapone, eh oui, un Sapone!' " The definition of un Sapone varies widely...
Sapone says that a few of his painter-customers "dress like bourgeois gentlemen" and concedes that he has trouble satisfying them. Joan Miró never did accept his suggestions for a suit, and Jacques Villon confided: "Sapone, I'm really too old for you to dress me." As Picasso told him: "Your suits are like my paintings. In the beginning people found them strange and extravagant. Now they admire them...
...illuminate many hidden corners. But by telling what Gary was, he helps define the flights of imagination the author had to make when he created his gallery of characters. Though Gary was an Anglo-Irish aristocrat by birth (the Carys of Cary Castle, Donegal), his brief training as a painter helped him get inside the skin of his most famous creature, the artist-bum Gulley Jimson in The Horse's Mouth. Experience as a British colonial official (from 1914 to 1920 in Nigeria) lent nuances to one of the best portraits of an emergent African in fiction, the black...