1956 Femme nue dans le fauteuil Е bascule Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a figure seated in a rocking chair, rendered with a distinct fragmentation and reassembly characteristic of Cubist aesthetics. The subject is female, though her form is deconstructed into geometric planes and angular shapes, defying conventional representation. Her pose suggests relaxation or contemplation; she leans back within the confines of the chair, her legs crossed at the ankles.
The color palette is dominated by greens, oranges, blacks, and whites, applied in broad, flat areas that contribute to a sense of spatial ambiguity. A vibrant green occupies much of the background, punctuated by an orange section on the right side. The upper left corner features a stylized palm tree rendered with simplified forms against a pale blue-grey backdrop, introducing a suggestion of tropical or exotic locale.
The chair itself is not depicted realistically; instead, it’s constructed from interlocking shapes and lines that echo the fragmentation of the figure. A patterned textile appears on the backrest, adding another layer of visual complexity. The artists signature is visible in the upper right corner, executed with a confident, fluid stroke.
Beyond the surface depiction, several subtexts emerge. The fragmented form of the female subject could be interpreted as an exploration of identity and perception, questioning the stability of representation. The rocking chair itself might symbolize domesticity or confinement, while the palm tree introduces a contrasting element of freedom and escape. The stark contrast between the figure’s vulnerability (exposed breasts) and the geometric rigidity of her form creates a tension that invites reflection on the relationship between body, space, and societal expectations.
The overall effect is one of controlled chaos; the disjointed elements coalesce into a unified whole through the artists deliberate arrangement and use of color. The work seems to challenge traditional notions of beauty and representation, instead offering a complex meditation on form, perception, and the human condition.