Modigliani’s portrait of the poet, designer, and filmmaker Jean Cocteau captures the young man’s dandified vanity. 
Cocteau paid for the painting but, claiming that it would not fit in a taxi, he left it behind and never came back to get it—his pride apparently wounded.
Years later, Cocteau acknowledged: “The way he drew us at the tables of the Rotonde, ceaselessly. . . was the way he judged us, sensed us, liked us, or argued with us. His drawing was a silent conversation. A dialogue between his line and ours.”
Through October, the Kimbell’s “Head” by Modigliani will be joined by three additional works by the artist from the Henry and Rose Pearlman Foundation. You can see these Guests of Honor for free in the Kahn Galleries.
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Amedeo Modigliani, “Jean Cocteau,” 1916. The Henry and Rose Pearlman Foundation, on loan since 1976 to the Princeton University Art Museum
Jean Cocteau 五本 2008
科克托Jean Cocteau之譯本：《存在之難》*、《美女與野獸 電影日記》《陌生人日記》《科克托訪談錄》（COCTEAU PAR COCTEAU - 28 AUTOPORTRAITS ECRITS ET DESSINES，相當精彩，這是編制的，原文……）等五本由華東師範大學出版社, 2005【版權頁的中國打成china…….】
我談過-提過兩本。
看它們，我覺得應該有人介紹、介紹「中法文化年傅雷計畫（2004-2005）」---這計劃是法國外交部獎勵翻譯法國書，大陸可能已出版數百本。
All life, all beauty results from being broken down —Jean Cocteau, Letter to...
*「存在之難」典故：某人百歲命危，醫生問他，答：「我感到一種存在之難。」, 科克托說，我的存在之難，不只在命危之際，「自始至終」。（p.181）
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