He reduced the human figure to certain elemental lines.[37]
Applying these principles to the hand, he gets this result:
It is interesting to compare this sectional diagram of the hand with the hand of “The Man on the Balcony.”
Furthermore, one has but to consider the elemental lines at the top of the page with the words of Cézanne, quoted on page 43, and with the fundamental propositions of Chinese and Japanese art, to realize that in the last analysis the
PICASSO
Woman with Mandolin
