During the occupation  (1940-44), Picasso remained in Paris and among his works of these years are a number of female heads, sometimes referred to as "double faced" portraits. Picasso's style of an earlier period often reappears at a later time as, for example, does his classical period. The "double face" of principle of simultaneity harks back to cubism and was a means during these later years for him to continue his unrelenting search below the surface countenance of the sitter.

The mastery of the portaits in the forties is exemplified in "Tete" with its rmarkable economy and complete integration of subject and background, all merging in one completely controlled plane. The singular quality of the picture is heightened by the almost monochromatic pallette of warm greys, black and off white accented by greyisih pink.  Source: Bulletin, Summer 1961.