Groups of female figures, primarily nude ones, had been a frequent motif in Picasso’s oeuvre since the early days of his career. The most famous of these is the Cubist brothel portrayed in Les Demoiselles d’Avignon (1907). Others feature bathers by the sea, odalisques lounging about, or figures looking at themselves as though through a mirror’s reflection. As he grew older and evolved as an artist, his mode of approaching similar subjects changed entirely. Much had changed in the world and in Picasso’s life from the early 1900s to the 1930s; stylistic elements fell in line. Yet, the recurrence of the female nude, whether in a group or alone, suggested a larger importance bordering on universality. It’s almost as though the 20th century’s history could be chronicled through his groupings of women and with them, the changing attitudes toward sexuality, femininity, and more. So, with that in mind, let’s step back into the past with Picasso to the world of Trois Femmes nues pres d’une Fenetre (B. 176) or “Three Nude Women by a Window.”
The three women themselves dominate the composition but ever so gracefully, thanks to their soft lines and fluidly draped limps. Their fleshy bodies overlap, almost conjoining into one being.
While this print does bear a resemblance to previous works of brothels or harems, those women are more obviously awaiting visitors. This is suggested by active postures, implicating gazes, or even a contrived sense of privacy/intimacy. Even his bathers, albeit semi-clothed, romp publicly on a sandy beach and display an awareness of the audience’s role. These three women, however, seem aware of our voyeuristic presence. Unlike the odalisque, both passive and inviting, there is no sense of anticipation or waiting here. In fact, they seem to exist in their own world, one that is neither private nor public.
Natural elements are the next most prominent element here, a favorite of this classical-inspired era. A bowl of flowers rests in the foreground at the left almost like an offering. To the right, one of the women gazes permanently out the window at a pasture of some sort. Not only could this greenery symbolize fertility, as it has before, but it quite literally grounds us into the setting. Whereas other nudes are enveloped into their space, like Demoiselles or even the “Sculptor’s Studio” prints, here, there is an outside and an inside where nature exists. Our minds may wander to a different version of this scene where these women traipse through the expanse of nature we can only glimpse in B. 176 returning with flowers for their bowl.
A final observation: with Picasso’s heightened interest in the classical world in the 1930s came his work with myths like the Minotaur and the Labyrinth, Ovid’s Metamorphosis, and more. Although there is no obvious myth at play here, the mysteriously calm aura of these three women is reminiscent of the Three Fates. Each has a distinct appearance and yet their positioning also suggests their unity. They also all look in different directions, possibly representing the Past, Present, and Future. Is this what Picasso had in mind, or was he creating a modern myth of his own?
Courtesy of John Szoke Gallery, New York.