In 1927 Picasso met Marie-Thérèse Walter on the street. She was a 17-year-old woman who hoped to become a professional swimmer; he was a mature man who had already achieved professional success. Three years later in 1930, Picasso purchased the Chateau Boisgeloup where he began to sculpt once again, and where he had enough space to house a printing studio. The young woman’s figure would begin to appear in his work repeatedly from this point, particularly in the etchings that make up the Suite Vollard.

In several compositions from 1933, such as this one, the young model—presumably Marie-Thérèse—observes the artist’s finished work. Both figures rest during this moment of contemplation. The sculptor possesses a Homeric semblance, old but radiant, while embracing the woman in a sweet gesture. The fulfillment of the body follows the fulfillment of creation and vice versa.