53

piece of turf at the bottom of "Diana and Actaeon." Picasso finished the study with a curving flourish and crossed diagonals as he surveyed the design possibilities of this arrangement. Sailors at sea having sex with other males was a common assumption. Picasso may have chosen this symbol for Jacob,k who told stories of being a sailor in his youth. In discussing the role of the medical student and the sailor in these studies, Gedo pointed out that "unlike Apollinaire and Picasso,, Jacob avoided women when he reached manhood, seeking sexual satisfaction in perverted activities involving children. (Gedo 80). The fact that he was a renowned female impersonator suggests, however, his underlying identification with his all-powerful mother. In this light, it seems interesting that Picasso replaced his self-portrait as a medical student with that of Jacob. (Z, II, pt.1,20). Perhaps the latter represented not only Picasso's misogyny carried to its extreme degree, but the artist's feminine aspects, also implicit in that passive sailor image. Ultimately, Picasso merged this Jacob-self figure with that of the nearest demoiselle, whom he moved to the left margin of the painting, where only her gesture, as she continues the revealing action initiated by the artist himself, provides a clue to her origins. This constitutes the second instance in Picasso's oeuvre in which he depicts himself in female guise. Earlier he had presented himself as the female acrobat being protected by the macho strongman" (Gedo 80).

Gedo says that only the support of Jacob and Apollinaire enabled Picasso to "confront the sources of his anger toward women and to recognize, however dimly, that his resulting ambivalence would color his relationships with them throughout his life (Rubin 24).

Several of the preparatory studies show the cast of "Diana and Actaeon" as Picasso reduced the number in his composition from seven to six and finally ended with five as he excluded the medical student and the sailor. Thereby, Picasso removed himself from the cast.

The "Composition Study" June 1907 (39) still has traces of Titian. The figure on the lefty and the seated figure in Picasso's study were reinforced by figures in Titian's "Diana and Actaeon." (43A) The warm colors on the right occur in both. Of interest is the right ankle of Actaeon, which Picasso shows tethered by the nude pulling a diagonal rope, an element that has never been

53