60:, works in production (such as paintings, prints, ceramics, and sculpture), as well as gifts from friends, articles of clothing and even artworks by his own children. All of these elements have been included in Elwes’ work with the goal of accurately documenting Picasso's working process. During this period in Picasso's life he was fascinated by the old masters. Picasso thought that his own studio looked like Velasquez's studio in
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In the series, architectural forms portrayed in one painting continue into the next, thereby inferring that as the eye of the viewer moves from painting to painting that you are physically moving from room to room in the master's studio. As such, this group of paintings functions as an installation.
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Elwes envelops the viewer as a way of enhancing the experience of what it would have been like to be in
Picasso's studio in Cannes in 1956. He has assembled all extant documentation on any and every item that Picasso surrounded himself with. These include all the notebooks, sketches,
66:. While creating this series of paintings, Elwes discovered that Picasso was intentionally placing objects in his studio in order to recreate Velasquez's studio. Then he left everything in place and went upstairs to create 58 versions of
94:— and so, for Picasso, the "oriental" subject of this series of paintings held strong associations with Matisse as well as with Delacroix. Matisse had been famous for his images of languid, voluptuous women known as
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word for women in a harem. "When
Matisse died he left his odalisques to me as a legacy," joked Picasso. Many of Picasso's portrayals of Jacqueline circa 1955–56 represent her in this guise (cat. 9).
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was perhaps the first to realise that the paintings done at La
Californie marked a return to Picasso's peak form. In April 1956, he wrote to the curator Alfred Barr:
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series were far-reaching: "I thought so much about Les Femmes d'Alger that I bought La
Californie," Picasso explained to his biographer
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and the exotic garden evoked a feeling of spaciousness and ease which corresponded to
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Damian Elwes: A painter in search of the roots of inspiration
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Picasso would spend six years at La
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