The vibrant surface of Nude in the Studio (1901), the bluish smoothness of Rest of a Model (1904) or the lively and suggestive touch of Young Woman in Profile (1904), his style finds its singularity in complex compositions, whose material also seems denser, as exemplified as much by his Self-Portrait and Plaster Head (1908) as by The Painter and his Model on Belle-Île (1905). This diversity passed through Vollard's hands: when, at the end of 1905, he bought Jean Puy's entire studio collection, the Salon d'Automne of the same year had just marked the spirits by the reunion of works by Manguin, Camoin, Derain, Matisse, Marquet and Vlaminck, described as "an orgy of pure tones".

Excerpt from Tom Laurent's article published in the No. 98 of Art Absolument.

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