1899 Courses de taureaux (recto) Esquisses (verso) Pablo Picasso (1881-1973) Period of creation: 1889-1907

The diptych presents a study in contrasts between a vibrant, albeit fragmented, depiction and a series of rapid sketches. The recto side showcases a scene seemingly set within a bullring or arena. Here we see a densely populated space, rendered with broad strokes and an earthy palette dominated by ochres, browns, and muted greens. A central figure, presumably a matador, is positioned in profile, his posture suggesting both confidence and tension. He’s framed by a crowd of onlookers, their faces largely obscured or reduced to simplified forms, contributing to the sense of anonymity within the spectacle. Above this scene, boldly inscribed across the top, are the letters JS PANIA, which likely serve as an identifying marker for the location or event depicted. The composition feels compressed and chaotic, conveying a palpable energy and immediacy.
The verso side offers a starkly different visual experience. It consists of several quick sketches executed in charcoal or pencil on lightly toned paper. These drawings appear to be studies of heads and faces, characterized by elongated features, exaggerated expressions, and an emphasis on angularity. The lines are loose and gestural, capturing fleeting moments and conveying a sense of psychological intensity. There’s a deliberate lack of detail; the focus is on capturing essence rather than precise representation.
The relationship between the two sides suggests a process of observation and distillation. The painting appears to be an attempt to capture the dynamism and atmosphere of a public event, while the sketches seem to explore individual expressions and psychological states within that context. One might interpret these drawings as preliminary studies for the larger composition, or perhaps as independent explorations of character and emotion inspired by the same subject matter.
Subtextually, the work hints at themes of spectacle, anonymity, and the human condition under pressure. The blurred faces in the painting suggest a detachment from individual experience within a large crowd, while the expressive sketches on the verso side reveal a deeper exploration of inner turmoil or emotional complexity. The juxtaposition of these two approaches – the broad, energetic depiction versus the intimate, introspective studies – creates a compelling dialogue about the nature of observation and representation.