Picasso even goes as far as changing his manner of painting: he uses light layers, leaving the white of the canvas visible, abandoning the shadows and outlines that usually form the foundation of his compositions. The colour scheme is no longer austerely Spanish and the pastel tones quietly echo the joyful Vence interiors painted by Matisse. From an iconographic point of view, certain commentators have suggested that the plaster head that appears in the first series is here replaced by a blank canvas placed on the easel, as if Picasso was symbolically calling out to the departed Matisse and inviting him to paint (Elisabeth Cowling & John Golding, Matisse/Picasso, exhibition catalogue, London, Paris, New York, 2002-03, p. 171). This canvas is thus a poignant homage from one of the greatest masters of the twentieth century to the one he considered to be his alter ego.
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