1919 Femme au chapeau Е plume assise dans un fauteuil Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a figure seated in what appears to be an armchair. The artist has fractured and reassembled the subjects form into geometric planes, denying any conventional sense of perspective or spatial depth. This deconstruction extends not only to the human figure but also to the chair itself, which is integrated with the body through similar angular distortions.
The color palette is restrained, dominated by muted browns, grays, and creams, punctuated by areas of blue and pink that define certain planes of the face and upper torso. The limited range contributes to a sense of somberness or introspection. A large hat with prominent feather adornment sits atop the figure’s head, its shape echoing the angularity of the rest of the composition.
The face is rendered as a series of flat, overlapping shapes, reducing recognizable features to essential planes. The eyes are small and dark, conveying an impression of detachment or perhaps melancholy. The mouth is barely suggested, further contributing to the figure’s impassivity. The hands are simplified into block-like forms, one holding what might be a book or other object close to the body.
Here we see a deliberate rejection of naturalistic representation in favor of an exploration of form and structure. The fragmentation suggests a breakdown of traditional notions of identity and perception. The figure’s posture – seated, withdrawn – implies contemplation or perhaps a sense of isolation. The hat, while adding a touch of elegance, also serves to further mask the individuals personality, reinforcing the overall feeling of anonymity.
The painting seems less concerned with portraying a specific person than with investigating the possibilities of representing human form through abstract means. It is an exercise in visual analysis, dissecting and reassembling reality into a new, fragmented order.