1906, Pablo Picasso, Woman with Comb (Femme au peigne) -- Phillips Collection (Washington) (special exhibition)
From the museum label: In this and other works made in Paris after he and Fernande Olivier left Gósol in August 1906, Picasso begins to reject the monumental forms he refined earlier that summer. In Nude Combing Her Hair (here), he models the figure’s flesh with distinct patches of light and dark, making her body appear simultaneously flat, volumetric, curvy, and geometric. The nude in Woman with Comb is even more dramatically modelled and appears to be dissolving into a white ground. This play between flatness and volume is one Picasso also explores in his backless sculpture Kneeling Woman Combing Her Hair, a compact, self-enclosed figure reminiscent of Crouching Beggarwoman.
1906, Pablo Picasso, Woman with Comb (Femme au peigne) -- Phillips Collection (Washington) (special exhibition)
From the museum label: In this and other works made in Paris after he and Fernande Olivier left Gósol in August 1906, Picasso begins to reject the monumental forms he refined earlier that summer. In Nude Combing Her Hair (here), he models the figure’s flesh with distinct patches of light and dark, making her body appear simultaneously flat, volumetric, curvy, and geometric. The nude in Woman with Comb is even more dramatically modelled and appears to be dissolving into a white ground. This play between flatness and volume is one Picasso also explores in his backless sculpture Kneeling Woman Combing Her Hair, a compact, self-enclosed figure reminiscent of Crouching Beggarwoman.