97

Two other works played a role in the development of "Minotauromachy" (101). They are Boulanger's "Mazeppa" (101F) and Antonio Tempesta's "Victory of Joshua" (108B).

"Mazeppa" has the elevated observers in the dark area just above the horizontal ground past the horse. Picasso saw two girls in these shades of the upper left. This work is a key source for the lady bullfighter tied to the back of the horse. A horizontal piece of cloth between her bare breasts turning downward at forty-five degrees is found in the rope across the left leg of the nude on the back of the horse in (101F). The corresponding turn downward is the left arm and arm of the bare-backed man on the right tying the rope. This back is the light area in Picasso's print between the tail of the horse and the abdomen of the Minotaur. Picasso read the shadow down the middle of the back as a sailboat; his waistline became the horizon. The head of Picasso's bullfighter was discovered by Picasso to the right of the man's hand. A small shape next to this man's cheek suggested the slender hand of Picasso's lady. Her breasts are the abdomen and left knee of the figure on the back of the horse in (101F). His left leg defined the waist of this woman. The suggested spilling of intestines occurs under the belly of the horse in (101F). The woman's crossed legs are the arms of the figure in the lower left. The left front leg of Picasso's horse may be the rope held by the man on the left. The neck and chest muscles of the horse are the folds to the left of the rope. The horse's head however, jumps to the hair of the head overlapping the horse's head in (101F) explaining that unusual anatomy of Picasso's head. The little girl holding the candle was modelled after the man whose head and shoulders appear just above the bare-backed male on the left side.

“Minotaur and Maiden” 1936 (102)

Picasso appears to have enjoyed compiling various works in which he found connecting links or perhaps he fancied himself as the connection. In any event, he presented another version of "Minotaur and Maiden" 1936, (102) which is like (99) and yet reveals differences which can be attributed to Picasso's redrawing of Delacroix's "Arab on Horseback" (102A). Here are the points of comparison:

97