47

3. Here the dark hair curving down the head (40F) is like the dark area of the wing in (40G).

4. This streak of light is in both paintings in the exact same place and is practically the same size and angle compared to other shapes in the area.

5. The ear in (40F) and a fold just above the waist in the garment of the angel in (40G) are identical. Note also the eye in (40F) and its shape which is formed like the feather tips in (40G).

6. Another fold in the angel's robe creates an area between the breast and arm of the figure in (40F).

7. Light streaks above the elbow in (40F) are painted in the same manner as El Greco painted above the head of the angel.

8. The placement of the vertical line is common to both works.

9. The elbow and folds in the robe must have suggested a head to Picasso. Notice how the right hand in the El Greco becomes the left ear close to the head in the Picasso.

10. The angle of this line in (40G) is placed in a more vertical position by Picasso.

11. A similar thing occurs with these lines. Note how the position of areas #6 and #11 form or suggest the breast and angular front of Picasso's figure.

12. Here Picasso flattens the back and foot of the angel and makes this form an arm and hand accounting for the strange position of the arm.

13. An angle in the drapery in the El Greco is used by Picasso to form the bend in the knee of his figure and a corresponding angle forms the pointed knee at #14.

14. See above.

47