So what has moved these feminists not merely to defend Picasso, but also to embrace him? But in this particular narrative of appropriation and reappropriation of cultural artefacts, it is the women who have the final word.
The series, created in 1954—1955, was inspired by 's 1834 painting : Femmes d'Alger dans leur appartement.
The case of Djamila Boupacha brought these stories to an international scale as she was defended by the lawyer Gisele Halimi and Simone de Beauvoir who wrote an article about her story.
There is the idea that the individual can only directly understand nature, free from society.
The artist had a precedent during the Cold War for such activism on behalf of dissidents: portraits of the Greek Communist Nichos Beloyannis in 1952 and the Americans Julius and Ethel Rosenberg in 1954 were commissioned by the PCF as part of campaigns to prevent or commemorate their execution.
A blue curtain of fragmented cubist planes cascades down the right side of the picture, continuing underneath the reclining woman, behind whose legs a small table is just visible.