#FridayFeature Picasso's Classical period can seem like a regressive way station between the rigors of his Cubist works and the alternately feverish and languorous machinations of his Surrealist phase....And he was not exactly taking it easy, much less moving backward, even when working in a Classical mode....His close study of things like drapery, bridgeless noses and small, full lips -- which was facilitated by a trip to Italy in 1917 -- is underscored by the inclusion of two Greek heads and the torso from a Roman copy of a caryatid from the Erechtheum....Picasso's Classical images tend to be peopled by rooted, sausage-fingered women in Grecian coifs and white gowns. Rendered in a subdued, implicitly sculptural palette of pale tans and grisailles, some of these figures hint at a comic lightness, not only in their mismatched proportions but also in the incisive economy with which they are painted. -- Roberta Smith, Art in Review: 'Picasso: The Classical Period', The New York Times, November 21, 2003 -- Artwork info: Pablo Picasso, La Source, 1921, drypoint, 13 3/8 x 17 3/4 inches, edition of 100, signed and numbered -- #picasso #pablopicasso #robertasmith #artcritic #nytimes #classical #classicism #classicalart #modernart #modern #herculaneum #hellenistic #mode #cubism #cubist #masterpiece #erechtheum #greek #roman #italy #masterwork #caryatid #toga #drapery #grecian #printmaking (at Leslie Sacks Gallery)