Listed are a few of the many meshed faces in Picasso’s works 1924 to 1950:
The Red Carpet. 1924. has a black plaster cast with two faces.
Studio with Plaster Head, 1925, as stated in my Picasso’s Guernica - Images within Images, 1985. See my addendum page 138.
Still Life with an Antique Bust, 1925. Two faces.
The Dance, 1925 (left-most face has meshed horizontal and vertical faces).
The Dance, 1925 (central figure has two faces, one seen horizontally from the right, the other horizontally from the left).
Seated Woman, 1927, two profiles meshed.
Claude and Paloma, 20 January 1950. Right-most face has multiple faces.
The above examples are cited to support my finding that the Studio with Plaster Head, 1925, has meshed female and male profiles in the plaster head at center and thus evokes a hermaphroditic God as I stated. Moreover, the Plaster Head most likely evokes Picasso as a hermaphroditic God and thus evokes Picasso’s apotheosis. See my 1985 Picasso’s Guernica, Images within Images, addendum page 138.
One day some Art History Chair will understand my book as a serious study. It is easy to dismiss others’ ideas as subjective. Then one does not have to look at them critically.
Among many hidden images in Guernica I found a hidden bull’s head beneath the horse. See bottom of page 116 and illustration S of bull’s head on page 123.
Also, I found a hidden bottle in The Three Dancers. See addendum page 103.
Others have since made note of these hidden images based on my findings. My book with addenda should be taken seriously. After all, my book has been around close to 30 years waiting for an objective study. Time enough!