The Beatles, Piaf, Picasso: Le Figaro's First Reviews

History often smooths the rough edges of cultural icons, presenting them as fully formed geniuses from their debut. But what did the first reviews actually say? As part of a major anniversary celebration, a selection of early critiques has been unearthed, offering a raw, unfiltered look at the moments these future giants first met the public eye.

The collection, curated to mark 200 years of the publication, features observations that are by turns humorous, sharp, and startlingly perceptive. These are not the reverent tributes we read today. Instead, they are the immediate, on-the-spot sketches of critics trying to make sense of something entirely new.

From the chaotic energy of a Liverpool rock band to the quiet intensity of a Parisian songbird, these reviews capture the genuine surprise and confusion of the moment. They remind us that every legend was once just a new act on stage.

When The Beatles first arrived in Paris, their appearance and sound were a world away from the polished pop stars of the day. One critic, attempting to capture their unique energy, described the band members as « mal peignés »—literally, unkempt or poorly combed.

This description wasn't necessarily a condemnation, but rather a stark observation of their counter-cultural look. Long hair and a casual, rebellious style were still jarring to the establishment. The review focused on the visual and sonic disruption they represented.

The critique highlights a key moment of cultural collision:

• A raw, energetic performance style
• A visual aesthetic that defied convention
• A sound that was entirely new to mainstream audiences
• An immediate generational divide among critics

For a publication accustomed to classical music and traditional cabaret, the sheer volume and attitude of the Fab Four must have been a shock. The term 'unkempt' perfectly encapsulates this initial encounter with a force that would soon sweep the globe.

In stark contrast to the manufactured glamour of many 20th-century performers, Edith Piaf was noted for her profound lack of artifice. Critics described her as « naturelle »—natural—a quality that became her signature.

This wasn't just about her stage presence; it was about the very essence of her art. Piaf’s voice, filled with gravel and emotion, poured directly from her life experiences. There was no filter, no pretense. The early reviews recognized this raw authenticity as her defining feature.

Her performance was a direct line to the soul, stripped of all decoration.

At a time when singers often aimed for technical perfection and polished delivery, Piaf’s approach was revolutionary. The critique of her being 'natural' was an acknowledgment that she was something entirely different: a force of nature whose power came from her vulnerability. This early assessment correctly identified the quality that would make her music timeless.

The name Pablo Picasso today conjures images of fragmented forms and revolutionary cubism. Yet, an early review highlighted in this collection described the artist as « spirituel »—spiritual.

This adjective offers a fascinatingly different lens through which to view his work. Rather than focusing solely on the deconstruction of form, the critic perceived a deeper, almost metaphysical dimension to Picasso's art. It suggests an engagement with the essence of his subjects, not just their physical appearance.

The observation reveals the multifaceted nature of his genius:

• A search for truth beyond surface appearances
• An intellectual and philosophical depth to his creations
• A connection to the human condition that transcended mere aesthetics

While modern analysis often focuses on the technical and historical impact of his work, this early critique reminds us that Picasso’s contemporaries also saw the profound, searching mind behind the canvas. The label 'spiritual' captures a vital, often overlooked, aspect of his artistic journey.

Reading these early critiques, a clear pattern emerges: it is incredibly difficult to judge the true significance of art in the moment it is created. The critics of the time were doing their best to describe unprecedented phenomena using familiar language, with mixed results.

The collection serves as a powerful lesson in cultural history. It shows that the path from novelty to legacy is rarely a straight line. An artist can be dismissed as 'unkempt' one day and celebrated as a revolutionary the next.

These snapshots in time are valuable not for their predictive power, but for their honesty. They capture the genuine, human reaction to the new and the unknown. They prove that even the most sacred cultural monuments were once just fresh, challenging, and sometimes bewildering new works.

This retrospective of early reviews offers more than just historical trivia; it provides a vital perspective on how culture evolves. The journey from initial impression to historical importance is filled with surprises.

The verdict of history is not always obvious. What seems marginal or strange today could be the foundation of tomorrow's art. The critiques of The Beatles, Piaf, and Picasso prove that first reactions are rarely the last word.

Context is everything. These reviews were written for an audience that had never seen or heard anything like these artists. Their confusion and surprise are a testament to the genuine innovation these figures brought to their fields.

Authenticity endures. Whether it was Piaf's naturalism or Picasso's spiritual depth, the qualities that these early critics identified are often the very reasons these artists remain relevant. The core of their genius was visible, even if it was described with imperfect words.