The first indication that something had radically changed was that Chaim Soutine fired the model he was painting and instead started painting a beef carcass. Soutine didn’t settle for a single painting: he painted ten works in this series: «the carcass paintings». Within a month, the stench was so foul that the other resident artists of Le-Bateau-Lavoir began to work with a gas mask on. But Soutine pretended not to get the hint. He had spent all his savings on that carcass and needed to amortize it. But one day the carcass mysteriously disappeared. However, the stench had permeated the walls in such a way that Picasso set about painting the house yellow from top to bottom with his brush. His dealer went mad with angry upon discovering that Picasso was painting walls instead of canvasses, and bought him a roller brush for him to finish earlier. Picasso took a liking to the roller brush and began to paint his canvasses with it. Thanks to that, he was able to finish a large oil painting he had been working on for years. His dealer had placed much hope in that painting with the idealized representation of a group of high society maidens having tea. It was entitled “Les demoiselles d’Avignon”. When the dealer finally saw it finished, he collapsed: the graceful maidens in the original painting had turned into cube-featured naked cocottes. Definitely, something odd had seized control of the artists’ commune. 

“Les demoiselles d’Avignon”

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