This work is part of the edition of 50 of the Vollard Suite on large margins.

Nevertheless, Picasso always retained his memory of Ingres, whose drawings he saw in Montauban in 1906, and whose distortions of the body and space subsequently became one of the sources of Cubism. Throughout his life, Picasso kept Ingres' example in mind. Better still, he followed it, interpreted it, and sometimes copied it, to the point of being described as ‘the true Monsieur Ingres’ by Jean Cocteau and experiencing a period known as his ‘Ingresque’ phase (1915-1925).

While Ingres's ‘bizarreries’ and ‘chinoiseries’, his distortions and his use of space, which sometimes disturbed his contemporaries, had a profound influence on Picasso, it was also the artist's eroticism that left its mark. Femmes entre elles et un voyeur sculpté (Women Among Themselves and a Sculpted Voyeur) is Picasso's reworking of one of the most famous erotic masterpieces in art history.
Thus, Ingres joins Rembrandt, Velázquez, Poussin, Degas and El Greco in the series of great artists to whom Picasso pays homage.

© Succession Picasso 2026