1912, Pablo Picasso, Standing Woman -- Metropolitan Museum of Art (New York)
From the museum label: Picasso regularly manipulated the paper supports of his drawings to meet his artistic needs. In this case, he joined two sheets of paper to create a long and narrow work surface. The extreme verticality of this drawing suggests it might have stemmed from the elongated formats of the Field commission's panels. A 1913 photograph of the artist's studio features a large oblong painting (presumably repainted or destroyed but identified as one of the Field panels) that shares many characteristics with this 1912 drawing. Both works depict a full- length figure with lighter tones and flatter forms in the bottom third of the composition, imparting a sense of airiness that mitigates the weight of the dramatic upper portion.
1912, Pablo Picasso, Standing Woman -- Metropolitan Museum of Art (New York)
From the museum label: Picasso regularly manipulated the paper supports of his drawings to meet his artistic needs. In this case, he joined two sheets of paper to create a long and narrow work surface. The extreme verticality of this drawing suggests it might have stemmed from the elongated formats of the Field commission's panels. A 1913 photograph of the artist's studio features a large oblong painting (presumably repainted or destroyed but identified as one of the Field panels) that shares many characteristics with this 1912 drawing. Both works depict a full- length figure with lighter tones and flatter forms in the bottom third of the composition, imparting a sense of airiness that mitigates the weight of the dramatic upper portion.