"The Weeping Woman series is regarded as a thematic continuation of the tragedy depicted in Picasso's epic painting Guernica. In focusing on the image of a woman crying, the artist was no longer painting the effects of the Spanish Civil War directly, but rather referring to a singular universal image of suffering."
Portrait of Dora “Weeping Woman” became a symbol of grief, pain and suffering. Everything in the painting is subordinated to this idea. Pablo always portrayed Dora with huge eyes, sad, pensive or weeping. He emphasized her delicate nervous system, clean face and long red nails. Dora Maar was Picasso's mistress from 1936 until 1944. In the course of their relationship, Picasso painted her in a number of guises, some realistic, some benign, others tortured or threatening. Picasso explained:
"For me she's the weeping woman. For years I've painted her in tortured forms, not through sadism, and not with pleasure, either; just obeying a vision that forced itself on me. It was the deep reality, not the superficial one."
"Dora, for me, was always a weeping woman....And it's important, because women are suffering machines"
Winding Up (1836)
William Sidney Mount
William Sidney Mount was the most highly esteemed painter of American daily life before the Civil War. Using meticulous brushwork, he composed Winding Up similar to a theater set, and the figures mimic stage characters of the day. The man represents Yankee Jonathan, a country-bumpkin type. His hat remains on his head even indoors, and his handkerchief sticks out of his pocket. The woman, however, appears in her finest clothing, which Mount drew from earlier costume sketches.
The title Winding Up has a double meaning. It refers to the ball of yarn the woman winds from the skein around her suitor's hands and to the stage of their courtship. The artist, however, leaves it to the viewer to guess the final outcome of the relationship.