At any given point in Pablo Picasso’s life, a veritable menagerie could be found in his home and studio. Dogs of all shapes and sizes, a variety of felines, doves, a parrot, an owl, a goat – indoors and out of doors these animals would appear, disappear, reappear.
The titular dog in Femme au chien, his Afghan hound Kaboul, is rendered with clear affection and humor – a nod to Picasso’s adoration of these creatures. Canines of various sorts are present in Picasso’s works throughout his oeuvre: the emaciated figures of his Rose Period; his serial reinterpretations of Velazquez’s Las Meninas; and his dachshund Lump (who he “borrowed” from David Douglas Duncan for many years) along with his Afghan hounds, Kasbek and Kaboul and his boxer Jan.
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