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work. The painting is sold to the Museum of Modern Art, under the title "Pablo Picasso: Portrait of Bustos Domeq, 1921." |
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In 1950, Jorge Luis Borges writes an essay ("El Omega de Pablo" in which he maintains that: |
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1. Picasso and Pessoa lied because nobody in 1921 painted a portrait of Domeq. |
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2. In any case, no Domeq could have been portrayed in 1921 because such a character was invented by Borges and Bioy Casares during the 1940s. |
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3. Picasso actually painted the portrait in 1945 and falsely dated it 1921. |
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4. Dali stole the portrait and copied it (masterfully). Immediately afterward, he destroyed the original. |
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5. Obviously, the 1945 Picasso was perfectly imitating the style of the early Picasso and Dali's copy was indistinguishable from the original. Both Picasso and Dali used canvas and colors produced in 1921. |
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6. Therefore, the work exposed in New York is the deliberate authorial forgery of a deliberate forgery of a historical forgery (which mendaciously portrayed a nonexistent person). |
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In 1986, there is found an unpublished text of Raymond Queneau, asserting that: |
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1. Bustos Domeq really existed, except that his real name was Schmidt. Alice Toklas in 1921 maliciously introduced him to Braque as Domeq, and Braque portrayed him under this name (in good faith), imitating the style of Picasso (in bad faith). |
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2. Domeq-Schmidt died during the saturation bombing of Dresden, and all his identity papers were destroyed in those circumstances. |
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3. Dali really rediscovered the portrait in 1945 and copied it. Later, he destroyed the original. A week later, Picasso made a copy of Dali's copy; then the copy by Dali was destroyed. The portrait sold to the MOMA is a fake painted by Picasso imitating a fake painted by Dali imitating a fake painted by Braque. |
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