This broad-shouldered and muscular female figure seems even more powerful because her body is too large for the sheet of paper: the top of her hair and the bottom of her feet are cropped by its edges. Rendering hands is difficult for many artists, particularly when the arm is foreshortened to create the impression that the figure is reaching toward the viewer. Picasso assumes the challenge at left, while at right, he uses a “wet on wet” technique to create a striking pooling effect. In this drawing, we see Picasso beginning to separate color from line; the washes of red pigment neither fill in nor model form.
Inscription: Signed (lower left): Picasso
Marking: watermark: Ingres 1871 with countermark CF and caduceus in crest
Dr. Gottlieb Friedrich Reber, Lausanne (by 1932–39; sold in 1939 to Cooper); Douglas Cooper, London (1939–d. 1984; his bequest to McCarty Cooper); his partner and adopted son, William McCarty Cooper, London (Churchglade Ltd., Switzerland, 1984–89; sold in February 1989 to Lauder); Leonard A. Lauder, New York (1989–2016; transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust); The Leonard A. Lauder Cubist Trust, New York (2013–16; gift to MMA)
Kunsthaus Zürich. "Picasso Retrospective, 1901–1931," September 11–October 30, 1932, extended to November 13, 1932, no. 281 (as "Stehende Frau," 1906).
Kunstmuseum Basel. "Douglas Cooper und die Meister des Kubismus," November 22, 1987–January 17, 1988, no. 50 (as autumn 1906).
John Richardson. Pablo Picasso: Watercolours and Gouaches. London, 1964, p. 28, pl. 7, as "Nude," autumn 1906.
Dorothy M. Kosinski. Douglas Cooper and the Masters of Cubism. Exh. cat., Kunstmuseum Basel. Basel, 1987, pp. 136, 210, no. 50, ill. pp. 16, (on display in Cooper's Château de Castille, Argilliers, France, ca. 1955), 140.
Olle Granath et al., ed. Pablo Picasso. Exh. cat., Moderna Museet. Stockholm, 1988, p. 240, no. 147.
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Dorothy Kosinski. "G. F. Reber: Collector of Cubism." Burlington Magazine 133, no. 1061 (August 1991), p. 530.
Marilyn McCully inNew York Collects: Drawings and Watercolors, 1900–1950. Exh. cat., Pierpont Morgan Library. New York, 1999, p. 60, no. 15, ill. p. 61.
Peter Kropmanns and Uwe Fleckner. "Von Kontinentaler Bedeuteung: Gottlieb Friedrich Reber und Seine Sammlungen." Die Moderne und Ihre Sammler: Französische Kunst in Deutschem Privatbesitz vom Kaiserreich zur Weimarer Republik. Ed. Andrea Pophanken and Felix Billeter. Berlin, 2001, p. 401, no. 23.
Susan Grace Galassi in Susan Grace Galassi, and Marilyn McCully, with Joanna Sheers, and Katie Steiner. Picasso's Drawings, 1890–1921: Reinventing Tradition. Exh. cat., Frick Collection. New York, 2011, pp. 14, 144, 146, no. 29, ill. p. 145.
"Objects Promised to the Museum during the Year 2012–2013." The Metropolitan Museum of Art, One Hundred Forty-third Annual Report of the Trustees for the Fiscal Year July 1, 2012, through June 30, 2013 (2013), p. 47.
Christine Poggi inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 28, 31–35, no. 49, ill. p. 32 (color).
Anna Jozefacka and Luise Mahler inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, p. 277, fig. 49 (installation photo, Exh. Boston 2005–6).
Emily Braun and Leonard A. Lauder inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 10–11.