- Pablo Picasso
- Femme à la collerette
- Dated 2 Juin 41 on the reverse
- Oil on panel
- 25 by 18 3/4 in.
- 64 by 47.5 cm
Marina Picasso (by descent from the above)
Acquired from the above
Venice, Centro di Cultura di Palazzo Grassi, Picasso, Opere dal 1895 al 1971 dalla Collezione Marina Picasso,1981, no. 258, illustrated p. 351
Tokyo,The National Museum of Modern Art; Kyoto, Kyoto Municipal Museum, Picasso, Masterpieces from Marina Picasso Collection and from Museums in USA and USSR, no.171, illustrated p. 292
Melbourne, National Gallery of Victoria, 1984; Sidney, Art Gallery of New South Wales, 1984, Picasso, no.135, illustrated p. 143
New York, Jan Krugier Gallery, Pablo Picasso Metamorphoses. Works from 1898 to 1973 from the Marina Picasso Collection, 2002, no. 67, illustrated p. 125; illustrated in color p. 63
The Picasso Project, ed., Picasso's Paintings, Watercolors, Drawings and Sculpture. Nazi Occupation, 1940-1944, San Francisco, 1999, no. 41-060, illustrated p. 24
Over the course of more than three decades, Inès filled many roles in the life of Picasso. She was not only his housekeeper but also his close friend, confident, nanny, cook and model. Inès was a reassuring and stable presence in the Picasso household, in contrast to his continuously changing cast of passionate and sometimes volatile lovers. Inès was not only accepted by the women in Picasso’s life, but she was also adored by his children. Maya Widmaier-Picasso, the daughter of Marie-Thérèse Walter, remembers Inès fondly, “ My father had unlimited trust in Inès, like he had in his friend Sabartès. She is for me a wonderful memory from my youth. She was a true ray of light for us, always happy, always gracious" (Maya's inscription on the reverse of a certificate for Inès assise, dated, Paris, 30 March 2002).
Irreplaceable according to Picasso himself and his children, the feeling was most certainly mutual. In an interview with Arianna Huffington, Inès explained, “As far as I was concerned, there was only him… Picasso was first and foremost before the whole world… I was part of the household as if I was a wife, as I was with my husband. It made no difference to me whether it was Jacqueline or this one or the other one who was there. I was with him… To live next to him, you had to be able to forgive everything. You got hit on the head, but that allowed you to be next to him. If you had decided that that was what you wanted, you had to accept everything. It's clear that others were not able to stay the course” (Arianna Huffington, Picasso - Creator and Destroyer, London, 1988, p. 409).