This piece is a development from my life drawings and influenced by the collection of Picasso's nudes seen at the Musee D'Orangerie, which demonstrated how the style of painting can transform the impression given of the sitter. Here, a dry painting technique gives a unfinished quality, intended to contrast with the classically beautiful figure. This is a comment on the dissatisfaction felt amongst females in America during the 1960s and on how the idyllic front of a husband and wife living in harmony was disturbed by Betty Friedan's 'The Feminine Mystique', 1963 awakened these incomplete housewives.
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