Executed on 18 March 1965 in Picasso’s Mougins studio, this print belongs to the early 1965 Dans l’atelier group exploring the painter-and-model theme. The work reflects Picasso’s ongoing collaboration with Aldo and Piero Crommelynck and demonstrates the refined aquatint technique characteristic of this period. Printed at Atelier Crommelynck on Richard de Bas wove paper—the sole paper recorded for this plate—the sheet carries the corresponding Richard de Bas watermark.
A pure aquatint executed at Atelier Crommelynck, this work reflects Picasso’s mid-1960s command of tonal intaglio. The plate employs aquatint only, without etched or drypoint linework, producing dense blacks and controlled tonal fields typical of his collaboration with Aldo and Piero Crommelynck. This partnership, begun in 1963, marked a significant technical refinement in Picasso’s printed work.