1915 Femme au chapeau dans un fauteuil Pablo Picasso (1881-1973) Period of creation: 1908-1918

The drawing presents a seated figure within a confined space, rendered in a fragmented and angular style. The subject appears to be a woman, identifiable through the presence of a hat and what seems to be a decorative collar or shawl. However, traditional notions of portraiture are entirely abandoned; instead, the artist deconstructs form into geometric planes and sharp angles.
The figure’s face is particularly striking in its abstraction. Features are reduced to essential lines and shapes – an elongated nose, a single eye rendered as a sliver, and a mouth suggested by a few decisive strokes. This reduction creates a sense of detachment and anonymity; the individual becomes less about personality and more about the exploration of form itself.
The color palette is restrained, primarily utilizing shades of red, purple, beige, and brown. These colors are applied in flat planes, contributing to the overall feeling of two-dimensionality. The patterned fabric on the figure’s dress introduces a visual complexity that contrasts with the otherwise simplified forms. This pattern doesnt seem to represent any recognizable motif but rather serves as another element in the formal arrangement.
The chair itself is integrated into the composition, its back forming an extension of the figure’s own angular structure. The limited depth and perspective further emphasize the drawing’s flatness, pushing the subject towards the viewer.
Subtly, a sense of melancholy pervades the work. The fragmented form and muted colors evoke a feeling of isolation and introspection. The womans posture – slightly slumped in the chair – suggests weariness or resignation. It is not an image of joyous celebration but rather one that hints at underlying emotional complexity.
The drawing’s power lies not in its representational accuracy, but in its ability to convey a mood through formal means. Here we see an exploration of perception and representation, challenging the viewer to reconsider how we understand form, identity, and emotion within the realm of visual art.