Picasso runs his fingers through her hair

Picasso, Reclining Nude (Fernande) (1906) Gouache on paper. Cleveland Museum of Art, with detail at right.

No doubt in life Picasso did run his fingers through his girlfriend's hair. In the drawing (left) from 1906 he did so too, turning an image of Fernande into a representation of himself. He might have learnt the method from any number of artists including Michelangelo or Fra Filippo Lippi. Picasso has positioned Fernande's arm on the far side (see detail, right) in such a way that her hair resembles the fingers of the same arm reappearing on the near side of her scarf. This double-image thereby indicates that his craft (hand) is at one with his intellect (head) and that the reality of the studio, his hand "drawing" her hair, is fused with the image itself. At the same time the artist and model become one. Object is now subject, and subject object, a common goal of the Inner Traditions in which there is no duality. We are all one. 

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