On November 1, 1954, the Algerian War of Independence erupted between France and its inhabitants in Algeria. About a month later, Pablo Picasso drew inspiration from the renowned Romantic artist Eugène Delacroix, beginning a new series that reimagined the iconic Femmes d’Alger dans leur appartement (Women of Algiers in Their Apartment). Through the following winter, he crafted 15 distinct canvases, each offering a unique interpretation of the theme.
The Original Work
Picasso meticulously examined Delacroix’sWomen of Algiers in Their Apartment (1834 and 1849) at the Louvre. Françoise Gilot, a fellow artist and Picasso’s partner, noted in 1964 that Picasso frequently visited the museum to view the painting. When Gilot inquired about his thoughts on Delacroix, he famously responded: “That bastard. He’s really good.” He created numerous sketches highlighting women’s poses (sitting versus reclining), the active servant, the curtain, and the water pipe.
This exploration of poses enabled Picasso to delve into the theme within his Cubist approach while also acknowledging his contemporary and friend, Henri Matisse, who had passed away just six weeks prior to the start of this series. Both artists shared profound admiration for one another, exemplified by Matisse’s remark that Picasso was the only individual deemed fit to critique his art.
“When Matisse passed away, he entrusted his Odalisques to me as a legacy,” remarked Picasso; therefore, this series could also be perceived as a tribute to his departed companion. The connection that binds Picasso, Matisse, and Femmes d’Alger is profound: Matisse viewed Delacroix as a forerunner, especially due to his vibrant use of color and his persistent exploration of Orientalist motifs.
The Preliminary Versions
The作品 are categorized alphabetically (from A to O). The showcased version, H, bears resemblance to the original A in terms of its color palette and composition. Picasso chose to reposition the reclining figure centrally and expand her size.
Examine her posture; it subtly alludes to Matisse’s contentious Blue Nude, which had sparked fierce debate regarding the subject’s ethnicity, complicating its classification as colonial or otherwise. In Chicago, it was even set ablaze as an effigy! Nonetheless, in 1907, it captivated Picasso and Braque, propelling their ongoing exploration of Cubism.
The Subsequent Versions
Each piece within the series displays slight variations, some leaning towards abstraction while others maintain a more definitive figurative quality. In the artwork above, rich dark tones dominate the composition, with the women’s forms nearly merging with the geometric backdrop. Pay attention to the lively movement of the servant, who is even grasping a teapot!
Initially, all 15 paintings were acquired by Picasso’s patrons, Victor and Sally Ganz, in June 1956. They later sold 10 of the pieces while retaining versions C, H, K, M, and O, which they displayed in their home.
The Concluding Version
The final piece in this remarkable series captivates with its explosive colors and forms. Here, we can observe fractured Cubist shapes, flat surfaces, and a skewed perception of depth. The vibrant flat patches of color strikingly echo Matisse’s vivid cut-outs.
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