1961 Femme au chapeau Pablo Picasso (1881-1973) Period of creation: 1943-1961

The photograph presents a juxtaposition of two artworks within a gallery setting. A painted work hangs on the wall, positioned alongside a three-dimensional sculpture displayed on a pedestal. The composition immediately establishes a dialogue between disparate artistic approaches and periods.
The painting, rendered in a palette dominated by blues and whites with accents of black and grey, depicts figures arranged in an unconventional manner. Their forms are fragmented and distorted, suggesting multiple perspectives simultaneously presented. Facial features are simplified to essential elements – eyes, noses, mouths – yet retain a degree of expressiveness despite their abstraction. The artist’s signature is visible in the upper right corner, adding a layer of authorship and historical context. The overall impression is one of emotional intensity and psychological complexity, characteristic of an exploration into human form beyond realistic representation.
In contrast, the sculpture stands as a monumental presence. Carved from what appears to be stone or plaster, it possesses a rough-hewn texture that emphasizes its physicality. Its figure is similarly fragmented, but instead of being dispersed across a plane, these fragments are assembled in three dimensions. The head is disproportionately large compared to the body, and the features are rendered with an almost unsettling directness – a single eye stares out from the surface. The sculpture’s posture suggests both strength and vulnerability; it leans forward slightly, as if engaged in observation or contemplation.
The placement of these two works within the gallery is significant. They do not simply coexist but engage in a visual conversation. The paintings flattened perspective seems to recede into the wall, while the sculpture projects outwards into the space occupied by the viewer. This spatial relationship highlights the differences between representation and embodiment, between illusion and tangible form. The stark white walls of the gallery serve as a neutral backdrop, allowing the contrasting qualities of each artwork to be fully appreciated. The photograph itself becomes a document of this encounter, capturing a moment in time where two distinct artistic visions are brought into dialogue.