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Compare this print with the "Dream of Ossian" (10G) by Ingres. Herod is seated holding his face in the Ingres work. Next to him are the soldier and the female whose close relationship is applied to Herod's wife in the Picasso print. The staff of an obscure figure in front of the soldier and female provided the compositional thrust for the left leg of Salome whose features were derived from Ingres' profiles.

Daix reported that Picasso saw the Ingres retrospective exhibition in Paris in 1905 and was "especially struck by the "Turkish Bath." (17A). Picasso studied the elongations and anatomical displacements employed by Ingres to heighten the sensual effect in his work while enhancing the compositional design (Daix 20). In the summer of 1905, Picasso took a trip to Holland and he saw a difference in the anatomy of the people of that country which contributed to an investigation of material weight and substance.

"Portrait of Alice Derain" 1905 (18)

The cross-hatching in "Portrait of Alice Derain" (18) comes from a Rembrandt etching "Woman at the Bath with a Hat Beside Her" by Rembrandt (18A). I have reversed the detail shown in (18B).

Study of a Woman for Family of Saltimbanques" 1905 (19)

The terra-cotta statuettes from Tanagra, which date around 300 B.C., are representations of the people of that period. Most of these are of women standing or sitting in quiet repose wearing a tunic and mantle and often a broad-brimmed hat. Sometimes they are shown holding a child, a fan or some fruit. I believe these statuettes were studied by Picasso and used as models for his study of a woman (19) for the large "Family of Saltimbanques" of 1905 (21). Helen Gardner suggested that the predominantly terra-cotta coloring of Picasso's 1905 pictures indicated a study of Tanagra figurines. In an earlier study for the "Saltimbanques" Picasso had a horse race in the background and the woman is not present. In the final version, the race is painted out and the woman appears isolated and "pasted" into the lower right corner. Indeed, the mood of the whole picture is one of detached repose. The attitude expressed is one of restraint (Gardner 702).

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