Looking at Picasso's Women of Algiers

In 1954, with the news of the Algerian uprising and the death of his friend and art rival Matisse, Picasso embarked on a painted tribute, taking the subject that was most Matisse, the Odalisque, and running with it. He went back to the father of Orientalism, Eugene Delacroix, and the 1834 painting of his, the Women of Algiers in their Apartment. 

My interpretation of Delacroix' painting on a Paris map to emphasize the French fantasy of it.

Picasso had started in the 1950’s to paraphrase masterpieces of art, starting with Lucas Cranach’s David and Bathsheba. The tradition of sketching the masters has a long history. Delacroix copied Rubens, Van Gogh copied Gustave Dore, and now I copy Picasso.

laying out space for all 15 versions

My interest in the 15 versions of Picasso’s Women of Algiers is in understanding and appreciating the way a master abstractionist thinks. Picasso is playful and analytical. As we move through the series we see an entire range of approaches, thoroughly modern in style, spontaneous, creative, and smart. The artist is focused on breaking forms and flattening lines, connecting foreground and middle ground. He takes the viewer on a journey that is grounded upon a motif of classical and romantic history. We are rendered patient witnesses of the process of dismantling and reorganizing as voyeurs into the studio of the artist  as he plays voyeur into the private lives of women.

Picasso, at age 73, created in a span of three months, from December 13^th, 1954 to February  14^th,1955, 15 paintings and 2 lithographs versions. He titled them along the alphabet from version A to version O so thus we are able to follow his sequence of thought.

Picasso's version A

Version A and B were done in the same day, on December 13^th. One in color and pattern and the other in Grisaille.

Version B- grissaile- done in the same time, December 13^th  as version A Chiaroscuro renderings contrasts of lighter and darker shades

Picasso's version B