1910 Jeune fille Е la mandoline (Fanny Tellier) Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a figure seated and holding a stringed instrument. The subject is rendered in a fractured style, employing geometric planes and angular forms that dismantle traditional notions of representation. Theres a deliberate avoidance of smooth lines or blended tones; instead, the artist utilizes sharp divisions to construct the image from discrete facets.
The palette is restrained, dominated by muted browns, greys, and creams, contributing to an overall sense of quietude and introspection. Light appears to emanate from multiple sources, casting shadows that further emphasize the fragmented nature of the forms. The figure’s features are abstracted to the point where they become almost unrecognizable; a suggestion of eyes or a mouth is present, but these elements are integrated into the larger geometric structure rather than standing out as distinct characteristics.
The instrument itself appears similarly deconstructed, its shape and form broken down into planes that echo those used for the figure. This suggests an equivalence between subject and object, blurring the boundaries between person and thing. The arrangement of shapes creates a sense of depth, though it is not rendered through traditional perspective techniques. Instead, overlapping planes suggest spatial relationships without adhering to a single vanishing point.
Subtly, theres a feeling of melancholy conveyed by the subdued color scheme and the figure’s withdrawn posture. The fragmentation could be interpreted as an exploration of perception – a questioning of how we construct meaning from visual information. It might also represent a sense of displacement or alienation, reflecting anxieties prevalent in the early 20th century. The deliberate dismantling of recognizable forms challenges the viewer to actively engage with the image and reconstruct its meaning, rather than passively receiving it.