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Morrocco had always carried a sketchbook in Italy, making swift, decisive observations of whatever presented itself as interesting. Looking like a benign version of Picasso, in a horizontally striped shirt, neckerchief and broad smile, no one would object to the artist making a quick sketch. These drawings were put to the best possible use in the last decade of his life; ideas a-plenty to start the business of painting. In earlier decades he tended to deploy more traditional techniques with preparatory drawing and underpainting, and his colour was always personal but under restraint. Now he let loose: brilliant reds, blues, oranges, veridian and vermillion. Still life, beach scenes, sometimes combined, Italians at play, a dog listless in the noonday heat.
In Two Women at a Window, Picasso’s Classical period is present but fully absorbed into Morrocco’s playful, elysian Italy, a painting full of warmth, sensuality, and gentle humour.
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