[1] Walter was painted by Picasso on numerous occasions in a variety of poses, particularly in notable works like Girl before a Mirror, Le Rêve and Nude, Green Leaves and Bust.

[3] Picasso was intrigued by dreams and the subconscious, and depicted Walter free of constraint, as an image of serenity and calm.

[5] This set of paintings that focus on Le Repos are differentiated from other portraits by their extreme close ups of the subject's face.

Picasso filled these paintings entirely with Walter's face, conveying the intimacy of the portraits from the close proximity of her lover's gaze.

During this period, Picasso enjoyed experimenting with a much freer composition to his previous work, categorised by rich colours and sweeping brushwork.

[1][7] Picasso particularly made use of yellow and violet hues to convey Walter's hair and skin, and placed her head between complimentary shades of red and green.

Through Marie-Thérèse, Picasso discovered a new amplitude of form; less solemn than the monumental neo-classical nudes of the 1920s and with a promise of abundance and pleasure.

[9]Marie-Thérèse, now firmly entrenched in both the city and country life of a lover twenty-eight years her senior, could at last emerge from the wings to center stage, where she could preside as a radiant deity, in new roles that changed from Madonna to sphinx, from odalisque to earth mother.

"Picasso's frequent portrayals of Marie-Thérèse sleeping provided the ideal platform for his eloquent, sensual, romantic visions of her, hinting at the languid eroticism of their lifestyle in the secluded château, while also tapping into her character.

"[7]This classic, dreamy example from his critical year of 1932 is immediately recognizable, and captures the key elements of his work inspired by Marie Therese.