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  1. Jacqueline Picasso or Jacqueline Roque (24 February 1927 – 15 October 1986) was the muse and second wife of Pablo Picasso. Their marriage lasted 12 years until his death, during which time he created over 400 portraits of her, more than any of Picasso's other lovers.

  2. It was at the Madoura Pottery Plant in Vallouris, France that Jacqueline Roque first met an ageing Pablo Picasso. He was quickly became charmed by her, to the point where he would deliver a rose to her every day, until she eventually agreed to be his companion. Their relationship is allegorised through Picasso’s 1962 painting, Femme Au Chien.

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  4. Jacqueline with Flowers, 1954 celebrates the entry of Picasso's new companion, Jacqueline Roque, into his painting. Antonina Vallentin calls the figure a "modern sphinx", and it is true that in this crouching position, with her long neck and almond-shaped eyes, Jacqueline has something of the mythic figure about her.

  5. Picasso first met Jacqueline Roque (1927–1986) in Vallauris in the summer of 1952. They were married in 1961. He recorded her distinctive features—high cheekbones, enormous eyes, and dark, straight hair—in hundreds of works in a variety of styles between 1954 and 1972.

  6. Vauvenargues was a perfect asylum; besides, Jacqueline controlled all visits to the castle watching over her idol. On March 13, 1961, a marriage of 79-year-old Pablo Picasso and 34-year-old Jacqueline Roque was registered. The celebration was quite, since Picasso wanted to avoid publicity; only nearest and dearest were invited.

  7. Jacqueline. When Jacqueline Roque (1927–1986) appeared in Picasso’s life in 1952 she instilled a new creativity in his work and her image soon became a constant presence in his production. Jacqueline, whom he married in 1961, did not only inspire some two hundred portraits (paintings, drawings, prints and sculptures) but her spirit imbued ...

  8. Roque moved in with Picasso in 1954; the couple married in 1961. They remained together until the artist’s death, in 1973, a relationship that for Picasso endured far longer than any other. Picasso experimented extensively with this portrait of Roque, resulting in a characterization that is embodied by the group as a whole.

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