1907 Nu assis2 Pablo Picasso (1881-1973) Period of creation: 1889-1907

The composition presents a seated figure rendered in a fragmented and angular style. The subject is positioned centrally within the frame, occupying most of the pictorial space. A deep sense of stillness pervades the scene; the figure appears both present and detached.
Here we see a deliberate distortion of anatomical proportions. Limbs are elongated and flattened, while facial features are simplified to essential elements: large, almond-shaped eyes dominate the face, conveying an expression that is difficult to decipher – perhaps melancholy or introspection. The torso is delineated by stark lines suggesting musculature, yet these contours lack naturalistic volume.
The figure’s posture contributes to a sense of unease and instability. The legs are crossed in a manner that seems awkward, almost precarious, while the hands appear large and disproportionate relative to the body. This unsettling arrangement disrupts any conventional notions of grace or composure typically associated with depictions of the human form.
A crimson-red block serves as the seat upon which the figure rests. Its solid color contrasts sharply with the muted tones of the background and the fragmented rendering of the subject, drawing attention to its presence while simultaneously isolating the figure within the composition.
To the right, a vertical plane in shades of blue rises from the red block. This element functions as a backdrop, but also seems to echo the angularity of the figure itself. The brushstrokes here are loose and expressive, suggesting movement or fluidity that contrasts with the static quality of the central subject.
The palette is restrained, primarily consisting of earth tones – ochres, browns, grays – punctuated by the intense red and blue. This limited range contributes to a somber mood and reinforces the sense of isolation. The application of paint appears deliberate, with visible brushstrokes adding texture and emphasizing the artist’s hand in the creation of the work.
Subtly, there is an exploration of perspective that defies traditional representation. Multiple viewpoints seem to be simultaneously presented, creating a disorienting effect. This technique suggests a move away from mimetic accuracy towards a more conceptual understanding of form and space. The overall impression is one of psychological complexity and formal experimentation, hinting at a radical re-evaluation of the possibilities of figurative art.