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clouds to create an arbitrary value contrast and a line formed by their coming together points to the head of the girl. The relationship of the figures is obvious and the unusual placement of the feet on the edge of the format conclusively ties these two works together. (Barr 53)

In addition, the previously mentioned (29C), (29A), (29B), and (28A) were combined by Picasso to create his painting. Figure (32) is a diagram from Picasso's "Composition" (31). The figure (32A) is a diagram from Bouguereau's "The Birth of Venus" (28A). Twenty-five points of comparison are identified.

"Two Women" 1906, (33)

Picasso's intimacy with Chasseriau's "Two Sisters" (33B) reveals itself in "Two Women" (33). Another source coupled with this one is Jan Gossaert's "Neptune and Amphitrite" (33A). The left hand, torso and the placement of the feet of Amphitrite were repeated by Picasso.

"Two Nudes" 1906 (34)

The manner in which Courbet created shapes on his figures with patterns of light and shadow was applied by Picasso to his "Two Nudes" (34). See (34A) which is a detail of Courbet's "The Painter's Studio". Picasso's painting appears to combine the Iberian style and his interest in sculptural modelling. This work was produced during a time when Picasso was sculpting. He did not sculpt extensively again until over twenty years had passed. Significantly, the woman on the left holding back the drapery is a forerunner of the woman on the left of Picasso's "Les Demoiselles d'Avignon" 1906, (40). The size and pose of the figure on the right of Ruben's "The Three Graces" (34B) must also be compared to Picasso's bulky female. A suggestion of the poise of Ingres' standing figure on the right of the "Turkish Bath" (17A) was transferred to Picasso's figures in this work.

Picasso's study of classical form shows that his style was evolving from the sentimental subject-centered work of the earlier periods and that he was preparing for a major synthesis of form.

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