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area in the Rembrandt.

"Studies for La Toilette” 1906 (24) (25) and (26)

"La Toilette" 1906 (27)

"The Harem" 1906 (28)

One of the strongest parallels between Classical Greek art and the art of Picasso is "La Toilette" (27) and the studies for this work (24), (25), and (26). Pool wrote of the influence of the androgynous flying gods in the Louvre and the figures on Greek vases. The stance of the woman holding the mirror in "La Toilette" is like a maiden on the right of the frieze of the Parthenon in the Louvre. The emphasis that Picasso places on the curls of hair is surely related to the curls carved in Greek Classical sculpture. Picasso painted with a terra-cotta or red color in these paintings, connecting his work with the Hellenistic and Roman terra-cottas and also Greek vases of the fifth century. This figure may be a study after the woman on the right of Botticelli's "A Lady and Four Allegorical Figures" (10B). The female on the left is associated with Titian's "Venus Rising from the Sea" (28B), however a more direct relationship exists between Picasso's work and Bouguereau's "The Birth of Venus" (28A) which was also a model for Picasso's "Young Female Nude and Nude Child, with a Goat," "Young Girl Arranging Her Hair," and for the composition of Picasso's "The Harem" (28). In addition to this, the "Harem" contains elements from Ingres's "The Turkish Bath" (17A), Manet's "Luncheon on the Grass" (28C), and Paul Gauguin's "Where Do We Come From? What Are We? Where Are We Going?"(28D).

"The Birth of Venus" by Bouguereau (28A) suggested the pose and the centaur's nose and beard on the left. The light negative space looks like the horns of the goat in Picasso's painting. On the opposite side a shell becomes a jug in Picasso's work. Note the female head turning around in the Bouguereau and the placement of the hands for comparison.

"Flower Girl" (Study for the Peasants) 1906 (29)

"Flower Girl" (Study for the Peasants) (29) was based on several works. One

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