At the time of the Suite Vollard, Picasso was in love with Marie-Thérèse while trying to keep his marriage with Olga Khokhlova. The figure of the Minotaur, a hybrid, was perhaps a way of reconciling his contradictory emotions, between love, desire and rage. Unlike the other representations of the Minotaur in the Suite Vollard, showing the monster at the moment of his death or in amorous encounters, Blind Minotaur guided by a young girl with a pidgeon reveals another facet of the myth.

In a reversal of the Ariadne legend, this time the Minotaur is led into the labirynth by the young fille holding a dove. The monster is tamed, becoming an figure of pathos. The young girl's features identify her with Marie-Thérèse. It is a vision of hope at the end of the labirynth, of the power of love to transform the monster. If Marie-Thérèse is a representation of sensual pleasure for Picasso in most of his images of her, here it is tenderness that takes precedence. The sailors watching the scene are reminiscent of the images of Theseus and his crew.

A final interpretation is still possible: faced with the rise of fascism and the spectre of civil war in his native Spain, Picasso gives, in The Blind Minotaur Guided by a Pigeon Girl, an image of the fragile peace in the Europe of those years.