The work is still and calm in its intimate domesticity, yet simultaneously dynamic in the lyricism of the winding forms of the fabric in the background, the mother's head and neck and even the flowers in the foreground. The painting's domestic setting, harmonic palette, and its decorative forms evoke similar scenes by Édouard Vuillard and Pierre Bonnard.
In 1950, the poet Pierre Camo described the women Maillol depicted as "daughters of the earth," remarking upon "the line of a beautiful neck, the swelling breasts" and arguing that "no other artist since Renoir has loved and looked, caressed with his eyes, nor admired so voluptuously; nor has anyone but Maillol depicted the female form with such sensuous grace" (quoted in Pierre Camo, Maillol Mon Ami, Lausanne, 1950, p. 218).
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