To make Woman at the Window Picasso used bold areas of block colour contrasted by more decorative and intricate sections. Picasso made two states of this work. The present print was pulled from the second state, after the copper plate had been steelfaced. From the first to the second state the artist somewhat refined the image and made the grey and black tones both deeper and richer. He reduced the size of Françoise’s forehead, making it a little less pronounced, and changed her hair, making it more ornate, geometric and defined. Finally, he changed the shape of the shadow or curtain behind her and darkened it.
This print was made in Paris on 17 May 1952 and printed by the atelier of Roger Lacourière. It was published by the Galerie Louise Leiris, Paris, on Arches wove paper in an edition of approximately fifteen signed artist’s proofs – of which this is one – plus fifty signed and numbered copies.
Brigitte Baer, Picasso the Printmaker: Graphics from the Marina Picasso Collection, exhibition catalogue, Dallas Museum of Art, Dallas 1983, reproduced p.144
Brigitte Baer, Picasso peintre-graveur: Catalogue raisonné de l’oeuvre gravé et des monotypes, 1946-1958, vol. 4, Bern 1988, pp.160-1, reproduced p.161
Giorgia Bottinelli, ‘Pablo Picasso’, in Jennifer Mundy (ed.), Cubism and its Legacy: The Gift of Gustav and Elly Kahnweiler, exhibition catalogue, Tate Modern, London 2004, pp.88-90, reproduced p.96