![]() This is the beginning of an extensive series in which Picasso portrays Marie-Thérèse Walter, the young woman he met in 1927 in the Lafayette galleries when she was seventeen years old (2). The figure exudes a certain classicism, a trait that appears in many of the drawings that he made in 1905 during his visit to Holland.This nude was done just two years before he would create his monumental cubist brothel, Les demoiselles d’Avignon (The Young Ladies of Avignon) in 1907 (The Museum of Modern Art, New York), in which the female figure is one of the battlegrounds for the transformation in modern art language that we know as cubism today.Femme allongée (Reclining Woman, 1931) pertains to a different period. The girl’s figure covers the paper’s limited space in a single, powerful plane without accessories of any kind, the body’s volume highlighted by way of red crayon accents. It corresponds to a time when the artist’s finances and emotional life were both changing direction when he moves to Bateau-Lavoir, exhibits the acrobat paintings, siblings Leo and Gertrude Stein begin to buy his work and his relationship with Fernande Olivier, who would be his companion and model during the next seven years, begins. It is typical of a study made in the studio. In this sketch, he portrays a standing young woman seen from behind, gathering her hair together with arms raised while resting one leg on what might be a cloth-covered stool. ![]() Picasso found that the circus and its characters were a theme that embodied the idea of the avant-garde artist perfectly. The harlequin is a typically modern theme, not a character left to his fate but in possession of his art’s power to transform. ![]() During these years he turns less to the humble and desperate as protagonists for his work, as he had during his blue period, and themes associated with harlequins and the circus appear. 7968), which pertained to the collection of Paul Guillaume (1891-1934), a collector and promoter of French cultural life (1), corresponds to what art history has classified as his pink period, from 1904 to 1906. The small drawing from 1905 titled Femme nue de dos (Back of a Nude Woman, inv. The nudes in the MNBA’s collection point to two particular moments in his career. His searches in the terrain of art and in the realm of passion intertwine and mutually foment one another, inaugurating several different periods in his work. The theme of the nude permeates Picasso’s work and is as closely linked to his formal investigations as it is to his life’s most personal moments. Commentary on Femme allongée (Woman resting)
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