Panayiotis Kalorkoti says about this work:

"Seurat sets the tone of this portfolio by dislocating the barriers between picture-spaces, so that while a corner of La Grande Tatte is seen fixed within a border and securely identified as a painting within a print, the voluptuous figure from Woman powdering herself has transcended her frame and re-emerged as the artist's mistress, now seated in his studio and continuing her toilette in serene self-absorption. Artistic cross-currents are indicated not only by the figure of Signac, but also by the works of Millet and Ingres which Seurat owned, here shown summarily lined up behind the artist in order to convey that familiar relationship which even such an apparently 'new' style as Pointillisme may continue to enjoy with its artistic forbears. My own method in this print, with its deliberately speckled surface, is not so much to suggest an etched analogue to Pointilliste painting as to re-unify the various pictorial realities I have juggled by imposing across them all the grainy texture of an old photograph."

Text supplied by the Artist