For the art historian Richard Shone, Adam and Eve and Head of Eve reveal Grant's interest in a wide range of stylistic sources: 'borrowings and influences - from the Byzantine, from Picasso, from Persian miniatures, from newspaper photographs and "contemporary" life ... from Matisse, the Bible and the early Italians - are used in an intoxicating shuffle and reshuffle, all equally suitable and suggestive as catalysts to work' (Shone, p.130). The decorative quality of the piece is related to Grant's work in the Omega Workshops, founded in 1913 by Roger Fry. The workshops produced furniture, pottery and textiles designed by various young artists. The short hatched strokes of colour which accentuate the edges of Eve's long neck, her cheeks and her nose in Head of Eve were used by Grant as a form of stylised shading to create volume.
Richard Shone, Bloomsbury Portraits, London 1976, pp.84, 129-30
Judith Collins, The Omega Workshops, London 1983, pp.58, 78, 81
The Tate Gallery 1984-86: Illustrated Catalogue of Acquisitions, London 1988, pp.156-60, reproduced
Simon Watney, The Art of Duncan Grant, London 1990, pp.34-5, reproduced pl.13 in colour