Discussing Picasso's works from the late 1960s, Marie-Laure Bernadac wrote: 'Picasso now chose to work with isolated figures, archetypes, and concentrated on the essential: the nude, the couple, man in disguise or stripped bare: it was his way of dealing with the subject of women, love, and the human comedy. After isolating the painter in a series of portraits, it was logical that Picasso should now paint the model alone: that is to say a nude woman [...] offered up to the painter's eyes and to the man's desire. It is characteristic of Picasso, in contrast to Matisse and many other twentieth-century painters, that he takes as his model – or as his Muse – the woman he loves and who lives with him, not a professional model. So what his paintings show is never a 'model' of a woman, but woman as model. This has its consequences for his emotional as well as his artistic life: for the beloved woman stands for 'painting', and the painted woman is the beloved: detachment is an impossibility. Picasso never paints from life: Jacqueline never poses for him; but she is there always, everywhere' (M.-L. Bernadac, 'Picasso 1953-1972: Painting as Model', in Late Picasso (exhibition catalogue), The Tate Gallery, London, 1988, p. 78).
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