In the context of this artwork, analyze the Kaboul of the Background.
Kaboul entered Picasso's life in October 1961 as a gift from Jean Leymarie for Picasso's 80th birthday. After just a few weeks Picasso began to include the dog in his artwork. Kaboul was both a fierce guard dog and a faithful, affectionate companion. He outlived Picasso and remained with Roque at Notre-Dame-de-Vie until his death in 1975.Picasso produced a number of portraits of Roque alongside their dog Kaboul, including Femme et Chien Sous un Arbre, which he painted from 1961 to 1962. In his portraits he often merged the features of woman and hound. He once remarked on Kaboul's influence on his work stating, "often, if he comes into my mind when I am working, it alters what I do. The nose on the face I am drawing gets longer and sharper. The hair of the woman I am sketching gets longer and fluffy, resting against her cheeks just as his ears rest against his head".Roque adored Kaboul and shared a close relationship with the dog. Boris Friedwald noted that, "As of 1960, Lump [Picasso's dachshund] had a new companion, Kaboul, named after the Afghan capital—and rightly so, because he was an Afghan Greyhound. Jacqueline Roque, whom Picasso had married in 1961, was in love with Kaboul. And soon the animal, which was to accompany Picasso up to the end of his life, was appearing in several portraits of Jacqueline Roque. No wonder the features of Kaboul can be subtly traced in her visage".
Jacqueline Roque Lump