https://discord.gg/6NdxuYJ6 This original artwork is the nft of the book cover of Coppola's book Channeling Picasso a homage to Olga..
Synopsis of Don Quixote’s Metamorphosis by Coppola If I bray, will you listen and be attentive? Claims of a fake or forgery will come, ignore them. They will be disproven. The history you have been taught is wrong and only part of the whole tale. The 350 th Anniversary of Cervantes first edition of his classic book Don Quixote was printed January 16 1605 in 400 copies.

On February 11th, 1955, Pablo Picasso created a masterpiece that was only recently discovered by the author of this manuscript found behind another work of art in Montclair, New Jersey late 2005.

This lost Talisman, his Magnus Opus is a homage to his muse and first wife the ballerina Olga Khoklova created upon her death. Without Olga there would be no Don Quixote The artist once stated rhetorically why do you think I date everything I do? Because it is not sufficient enough only to know an artist's works but you must know when he did them, why, how and under what set of personal circumstances surrounding the works creation .

This artwork I titled Don Quixote's Metamorphosis because of its semiotics which are based primarily on the second century tale by Apuleius which is known to be the precursory novel to Cervantes' masterpiece.

The artwork is signed and dated in India ink on 100 percent cotton wove sized canvas six months prior to the academically accepted ink wash, a drawing on paper dated August 10 1955.

Several teams of experts have forensically examined the artwork in detail testifying that it is hand-done and absolutely not any sort of reproduction or print

The history of Olga Khoklova and Picasso began as a result of their history together which is related to the ballet that later inspired the artist's use of this subject matter upon her death. Olga’s ballet instructors both performed in The Don Quixote Ballet as Kitri and Sancho Panza respectively. Sokolova and Ceccetti were two of the most influential teachers in the history of The Don Quixote Ballet

Within that ballet there is a Cupid variation which also roots to the history of the subject matter and the Cupid and Psyche tale from within The Metamorphosis.

In 1917 Picasso met Olga in what Cocteau called The Cave of Taglioni while she was rehearsing for the role of a sylphide in Fokine’s rendition of the Taglioni work la Sylphide in the same role as Marie Taglioni.

The Picasso Succession website refers to Marie Taglioni as an inspiration to the artist as well as to Fokine but interestingly enough they neglect to mention Olga, nor does the Succession mention that Taglioni was the prima ballerina in the earliest rendition of Don Quixote Ballet.

The Taglioni family choreographed both La Sylphide, and Don Quixote Ballet in 1839 for the Berlin Court Opera and in 1943 in Turin for the Royal Savoy family. The history of these winter ballets related to the subject started with Didelot the teacher of Phillipo Taglioni in his work titled La Metamorphosis. Next it was called Zephyr and Flore and then La Sylphide. Three transformations which root to the goddess of the air and wind as well as fertility and a dance of death at the rite of spring.

The precursory tale to Don Quixote titled The Metamorphosis contains within it the transformation of a scholar into an ass and Pyche into a goddess. In 1917 Picasso began collaborating on the Parade Ballet creating a curtain inscribed with cosmological signs depicting a sylphide aboard Pegasus. At the mare's feet there is a globe with stars and the sun, a small dog lays in the foreground.

Picasso researched the history of the subject matter first in 1917 when he visited the Villa Farnesina frescoes of the subject by Raphael who depicted the sylphide Psyche in the nuptial imagery derived from her of Cupid taken from the tale from within Apuleius' novel. Raphaels depictions of Psyche show her after her transformation sitting at the wedding banquet of the gods which we all know greatly influenced Picasso. Psyche in Greek means Soul

Shortly after this Picasso asked Olga to marry him. He painted her in a mantilla or wedding veil as a wedding gift to his mother in the guise of Zoraida from Don Quixote.

Picasso, on February 4 1955, created another India ink work, a drawing of Antonio Machado while he was presiding over a homage to Spanish artists and poets, Machado was the writer of the Sad Don Quixote which clearly influenced Picasso.

Machado was the author of the Two Spain's one that died at the hands of the other. Machado wrote of dreams below the sun and the Manchugen Woman that speaks of his own lost muse in the guise of Dulcinea.

Simultaneously in February, Picasso was creating the Woman of Algiers series which includes depictions of the goddess Astarte.

Astarte has two sons, both erotes or winged gods, named"Longing and Desire." They are Eros or Cupid, known to symbolize a Winter to Spring motif found in The Metamorphosis. This is the history of valentine's day when the artist completed this series.

In the ancient times stories of the Erotes' contained mischief or pranks and trickery associated with Hermes and this is often inserted into the main theme of a work like it was in the work by Apulieus.

February 11th is at the midway point between winter and spring when the sylphide begins to fly through the air and transform into butterflies. Olga had performed for the ballet Ruses in the The rite of spring it sets are designed by Roerich and its compositions by Stravinsky which tell a tale of Pagan Russia in two parts. These works depict various primitive rituals to the sun god that illuminate the ancient ties with music and dance inclusive of a dance macabre.

Weeks before the Don Quixote of Februay 11 1955, Picasso created a third homage in the same calligraphic style as the Don Quixote of February. This work was titled The Tenth Anniversary of the Liberation of Auschwitz to honor Raeoul Wallenberg who sacrificed his life to help save helpless people from the Fascist Regimes that Picasso so adamantly opposed.

All of the works by the artist during this timeframe reflect the theme of sadness and oppression which dramatically affected the artist's life which was autobiographical and he associated this feeling of lament with his homeland Spain, the Algerian woman at the time of colonization and the character Don Quixote.

The subject matter of Don Quixote in the earliest known engraving of 1613 depicted the knight in lament as the sad King of the Carnival procession which helps in proving the date's connection to the subject matter.

The artist placed this autobiographical history into these works that conclude with him guiding the spirit of Olga in the guise of Dulcinea upon her death, immortalizing her placing her symbolically into the heavens in his visual masterpiece I titled Don Quixote’s Metamorphosis. The work is cosmologically precise and the symbols match that of the night sky of February 11 1955 which matches the date of the work.

Quixote himself speaks of the astronomer Ptolemy, the astrolabe, and the cosmological knowledge of Merlin, the magician.

Don Quixote's Metamorphosis is cosmological by nature and the August drawing in contrast is not except for that it opposes what was created six months earlier. In February the artist embedded the symbols to correspond precisely to the night sky of February 11th, 1955, then these symbols were then omitted or deleted in the August drawing a further deconstruction of the subject to communize the work to raise funds for Pierre Daix and the Communist party magazine les lettres. The original conception in February is polytheistic with and its second rendition the drawing that is simplified for the masses.

Pierre Daix of Les Lettres Francaises magazine stated that on August 10th, 1955, he came to Picasso to ask him to reproduce his Don Quixote

You do not refer to something that is yet to be created using the word reproduction; you must refer to something that was already formed, which in this case was a reference to the work made on February 11th.

Don Quixote consists of two books by Cervantes and it would only make sense if Picasso made two.

In the second book, the character Don Quixote is disgusted by the simplicity of the fake version by Avandella, which he mocked and debunked.

Picasso had purchased this false version in 1917 while with Olga in Rome and later he inculcated the simplicity and dichotomy into part two of his visual epic.

Picasso's biographer, Dr. Cortenova, called the August Don Quixote drawing a divertissement which ballet terminology for a short aside, a mere caricature of the original.

Pablo's good friend Peter Smith records this history in his 1955 diary stating that on February 10 and 11, he spent two days in Mougins at the time of Olga's passing.

In a subsequent March 17th entry, Smith mentions a Don Quixote that already exists made by Pablo long before the August drawing was executed. Smith presumably had seen the work in February when he spent two days in Mougins.

In December 1955, Smith's diary states that the February Don Quixote was then gifted to an artist friend of Picasso who took it home to New Jersey. Keep in mind the August drawing had already been donated to Saint-Denis in late November 28, leaving only the February original version behind or an engraved reproduction made by Les letters francaises.

Any subsequently engraved reproductions were created using a different method on watermarked Arches or Graves paper and they do not match our work line by line, nor are blessed with the secret hermetic symbols of the cosmos upon Olga’s death. Those engravings are identical to the August work. Proving once again our authenticity.

Pierre Daix's statement in August further attests to the existence of two different artworks at that point.

At Christmas, Pablo's friend were to receive one of these artworks, and St Denis would have already received the other.

Daix recollection of this day confirms the diary entry of March 17th

The recipient of the February Don Quixote drafted a thank you letter addressed to Picasso at The Guinness Estate where he frequented and then purchased.

That letter was recently recognized as his handwriting by the daughter of the recipient.

The diary attests that the recipient took the artwork to NJ, which is precisely where it was discovered in 2005 by the current owner

The February Don Quixote being discovered in New Jersey attests to the diaries credibility

The logical conclusion is there is no reason to write a thank you note for something that was never received. This document further attests what is said in the diary.

This diary proves there was a February Don Quixote after coming to us by a member of a noble Italian Family with their own collection of Picassos. It mentions a member of the family being present with Pablo and Smith when it was gifted. That member like Smiths was entrenched into theater administration.

Furthermore in 1943, the recipients' husband, a disciple of Picasso, painted his own modern version of Don Quixote and the recipient was a friend of Fokine and had painted him with her friend dancers Tamarirs Becker and Lydia Lopokova Olga’s best friend. Lopokova’s brother Fyodor choreographed his own Don Quixote in St Petersburg in 1923. Tamiris danced for Fokine in 1923 in his Carnaval scene in Cassanova. Olga danced in Carnival. Fokine had danced in a ballet called the Talisman. So we can see how this all ties the group. Do you think Picasso would create something that would not take into consideration the precise history of the subject matter? Do you think anyone but Picasso could ever have created a dichotomy this magnificent?

The artist Picasso has stated Art is a lie that makes us realize truth, at least the truth that is given to us to understand.

The information I have shared with you today will be made available to the world shortly in a series of digital NFT collections on Open Seas.

These findings provide overwhelming evidence that Picasso created his original Don Quixote on February 11 1955, cosmologically six months before the academically accepted version was made as a piece of propaganda.

The collection includes 17 years of research data and the testimonies of the scientific forensic experts. All the evidence is available in this new format so that this history can be placed in the blockchain and used as a collector's item, an investment vehicle, or to witness the birth of a paradigm shift in history. Any inquiries by the press can be sent to DQnftart@gmail.com.

Sent from my iPhone

Keith Coppola

Apr 13, 2022, 11:30 AM

to me

By The quiet man

Idle reader If I bray, will you listen and be attentive? Do you not want to know if what I say here is the truth?

Claims of a fake or forgery will come. Ignore them !They beget this and will be disproven. The diary attests that the recipient took the artwork to NJ, which is precisely where it was discovered in 2005 by the current owner and writer of this manuscript who is a victim of his own set of circumstances.

The February Don Quixote being discovered in New Jersey attests to the diaries credibility

The logical conclusion is there is no reason to write a thank you note for something that was never received. This document further attests what is said in the diary.

This diary proves there was a February Don Quixote after coming to us by a member of a noble Italian Family with their own collection of Picassos. It mentions a member of the family being present with Pablo and Smith when it was gifted. That member like Smiths was entrenched into theatre administration.

Furthermore in 1943, the recipients' husband, a disciple of Picasso, painted his own modern version of Don Quixote.

Do you think Picasso would create something that would not take into consideration the precise history of the subject matter? Do you think anyone but Picasso could ever have created a dichotomy this magnificent?

The artist Picasso has stated Art is a lie that makes us realize truth, at least the truth that is given to us to understand.

The information I have shared with you today will be made available to the world shortly in a series of digital NFT collections on Open Seas.

These findings provide overwhelming evidence that Picasso created his original Don Quixote on February 11 1955, cosmologically six months before the academically accepted version was made as a piece of propaganda.

The collection includes 17 years of research data and the testimonies of the scientific forensic experts. All the evidence is available in this new format so that this history can be placed in the blockchain and used as a collector's item, an investment vehicle, or to witness the birth of a paradigm shift in history.