Pablo PICASSO - FEMME ALLONGEE,1938 During the same period Matisse follows a similar path. His voluptuous pen-strokes delineate a feminine nude with a necklace around her neck, as in L'Artiste et son modèle réfléchis dans un miroir (fig 2) or create a geometrical version of woman's body in a zigzag form over a rubbed background to soften a willfully aggressive stroke as in Nu allongé (fig.3). Isabelle Monod-Fontaine writes: «Both artists freely distort and recompose the figure, yet neither can do without their models. Matisse more literally, as he remains dependent on long poses over time, while Picasso is more capricious, working both from life and from his memory of the Ômotif'' (Dora, and, less frequently, Marie-Thérèse during that period) when she is absent from the studio». For the perfect finishing touch on the ravishing drawing Femme allongée, Picasso draws a benign shadow that stands by the woman's side in the position typically reserved for the painter when represented with his model. * Matisse Picasso, London, Tate Modern, 11 May - 18 August 2002, Paris, Galeries nationales du Grand Palais, 17 September 2002 -6 January 2003, New York, The Museum of Modern Art, 13 February - 19 May 2003. Fig. 1: La fermière nue allongée, charcoal on canvas, Autumn 1938, Zervos, vol. 9, n° 78; Fig. 2: Henri Matisse, L'Artiste et son modèle réfléchis dans un miroir, 1937, Pen and ink on paper, The Baltimore Museum of Art; The Cone Collection; Fig. 3: Henri Matisse, Nu allongé, 1938, charcoal, the Museum of Modern Art, New York.