Tales of a tub

When Jacqueline, Pablo Picasso's last wife, opened the door of their French Riviera home on February 8, 1956, the universe of one of the 20th century's most influential artists threw its arms around photographer David Douglas Duncan.

"Let him in," Picasso requested from the bathtub. Duncan entered, and took one of the most famous snapshots in the history of photography: Picasso in the water laughing in the direction of the camera.

At the time, the artist's only recommendation for Duncan was from photographer Robert Capa, who had professed his respect for him. Their friendship, though, was to last until Picasso's death in 1973, with Duncan taking 25,000 images of the painter in every possible situation: playing with his children; attending bullfights; eating; receiving his friends; and, above all, working.

"I didn't annoy him, nor ask him what to do. I looked and shot"

The Kansas City-born photographer, now 95, was in Málaga this week to share anecdotes and promote

Picasso at Work. Through the Lens of David Douglas Duncan, an exhibition of his pictures at the museum devoted to the artist in the city. He preserves the look of energy and determination that has made him an idol for war photojournalists around the world for his work in Vietnam, Korea and India in publications such as Life and National Geographic. But he also seems to be the kind of person who leans toward the fun suggested by some of his other photographs.

What weapons did he use to seduce Picasso into allowing him access into the intimate aspects of his life? "We got on well and we trusted one another," he says. "I didn't annoy him, nor ask him what to do. I looked and shot. Without a flash, without making a sound. With the utmost respect.

"He was a little man, but his look made him enormous," Duncan continues. "I'm not sure I was able to capture all the meaning of that look. It wasn't intimidating. It was something mysterious and indescribable." The photographer remembers watching him work. "It was wonderful. With a toy, any kind of utensil or the remains of a lunch, he gave rise to a work of art. In the family he was very much the actor. He played a lot with the little ones. He did theater, dressed up..."

His close relationship with the artist also allows Duncan to put paid to the myth of Picasso the womanizer. "I met him when he was already with Jacqueline and I never saw him look at another woman, even though there were many who did look at him. He was not one of those men who chased or harassed like Dominique Strauss-Kahn."

Picasso at Work. Through the Lens of David Douglas Duncan. Until September 25 at Museo Picasso Málaga, Palacio de Buenavista, San Agustín 8, Málaga. www2.museopicassomalaga.org