As Picasso continued to return to this subject, the painter depicted in his compositions gradually occupied less of the canvas and ultimately was rendered through inferences or symbols. While we do not see Picasso himself, his presence can be interpreted as the blank canvas on the left, which awaits the touch of his brush. His extreme adoration for his subject is felt profoundly by the the artist's own absense, celebrating the femaile figure completely. The pared down brushwork combined with the intense focus on Jacqueline's femininity leads to an almost religious rendering, casting Picasso's model and wife as his personal Madonna.
During this time Picasso also began re-working the compositions of masters such as Goya, Manet and Delacroix (see fig. 1)
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