1910 Nu dans un fauteuil Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a figure seated in what appears to be an armchair or upholstered chair. The subject is rendered with a distinct lack of traditional perspective and modeling; instead, the artist employs a fractured approach, breaking down form into geometric planes and facets. These shapes overlap and intersect, creating a sense of simultaneity – as if multiple viewpoints are presented at once.
The figure’s posture suggests introspection or perhaps weariness. The head is tilted slightly downward, and the shoulders appear slumped. Facial features are reduced to essential forms; the eyes are indicated by dark, angular markings, while the mouth is suggested by a subtle shift in plane. The body itself is similarly deconstructed – the torso appears as a series of interlocking shapes, with the navel marked by a darker area that contributes to the overall sense of fragmentation.
The background is equally abstract, composed of similar geometric forms and planes. A warm palette of ochres, browns, and creams contrasts with cooler tones of gray and black, creating visual depth despite the lack of traditional perspective cues. The arrangement of these shapes suggests an interior space, though its precise nature remains ambiguous.
A notable element is the presence of what seems to be a spiral form on the right side of the composition. This curvilinear shape provides a counterpoint to the predominantly angular forms and introduces a sense of dynamism into the otherwise static scene. It could represent a decorative motif or perhaps an attempt to suggest movement within the fragmented space.
The painting’s subtexts revolve around themes of perception, representation, and the nature of reality. The artist seems to be questioning traditional modes of depicting the human form, opting instead for a more conceptual approach that prioritizes structure over illusionism. There is a sense of alienation or detachment conveyed by the figures posture and the fragmented rendering of its body – a possible reflection of modern anxieties about identity and belonging. Ultimately, the work invites viewers to actively engage with the process of visual construction and to question their own assumptions about how images are made and understood.