1960 Femme assise dans un fauteuil III Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a seated figure within a defined architectural space. The subject is rendered in a fragmented style, characteristic of analytical cubism. Her form is broken down into geometric planes and facets, creating a sense of simultaneity – as if multiple perspectives are presented at once. The face, though recognizable as female, is distorted; the eyes are disproportionately large and positioned high on the forehead, lending an unsettling intensity to her gaze. A pronounced nose and sharply angled mouth contribute to this effect.
The figure’s body is similarly deconstructed, with limbs appearing disjointed and rearranged. Her left arm rests upon the chairs armrest, while the right arm seems to be partially obscured by the angular planes of her dress or garment. The color palette is restrained, dominated by shades of gray, brown, and muted red-orange. These colors are applied in flat areas with distinct boundaries, further emphasizing the planar nature of the composition.
The chair itself is an integral element of the work, mirroring the fragmentation of the figure. Its curved back and armrests are rendered as a series of intersecting lines and shapes, echoing the geometric breakdown seen in the subject’s form. The background appears to be a dark, undefined space, contributing to a sense of isolation and confinement.
Subtleties within the work suggest a psychological depth beyond mere portraiture. The figures direct gaze, combined with her fragmented representation, might imply an exploration of identity or perception. The disjointedness could symbolize emotional detachment or a fractured selfhood. The limited color range reinforces this sense of austerity and introspection. The overall effect is one of controlled tension – a balance between recognizable form and abstract deconstruction that invites contemplation on the nature of representation and human experience.