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"Seated Bather" 1929 (90)

Picasso's "Seated Bather" 1929 (90) also had its origin in a Picasso favorite Ingres' "Turkish Bath" (17A). The lines for his figure can be found in the composition of the foreground figures in the painting by Ingres. Compare diagrams (90A) and (90B).

EXAMPLE FROM 1930

"Amours de Jupiter et de Semele" 1930 (91)

"Amours de Jupiter et de Semele,"(91) an etching from the Vollard series printed by Picasso in 1930, recalls the crowded "Allegory of Time and Love" by Bronzino (91A). Note how the limbs of the figures repeat the frame lines of both pictures.

EXAMPLE FROM 1931

"Still Life on a Table" 1931 (92)

In 1931, Picasso transformed Ingres' "Turkish Bath" (17A) into a "Still Life on a Table" (92). Points of reference are the central woman in profile of (3A) whose head, neck, torso and hair were seen by Picasso as a pitcher. Round forms to the right became fruit on a platter. The horizontal head of a woman was seen as a light oval base of the fruit platter. The thighs and breasts of Ingres' figures are visible in the table legs and drapery of Picasso's table.

EXAMPLES FROM 1932

"Girl Before a Mirror" 1932 (93)

Picasso's "Girl Before a Mirror" (93) is a masterful balance of expressive content with decorative design and recalls Titian's "Venus With a Mirror" (93A). Beyond the obvious comparison of the subjects of these paintings, note the rich patterns of the various drapes in Titian's painting which serve as decorative areas in Picasso's painting. He used the veil and the angle of the woman's head,

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