1959 Portrait de Jacqueline de profil IV Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a figure rendered in profile, occupying a central position within a tightly framed space. The subject appears seated, though the chair itself is abstracted and integrated into the overall design. A dominant green hue pervades much of the background and portions of the figure’s attire, creating a sense of enclosure or confinement. This is punctuated by areas of black and a patch of yellow-ochre at the upper left corner which provides a stark contrast to the prevailing color scheme.
The face, elongated and stylized, exhibits a pronounced asymmetry. The eyes are rendered as dark, almond-shaped forms, one significantly larger than the other, contributing to an unsettling effect. A single, prominent line defines the nose, while the mouth is reduced to a minimal indication of form. A vibrant red headscarf, patterned with small dots, draws attention and provides a focal point amidst the more subdued palette.
The artist’s use of flattened planes and angular forms disregards traditional notions of perspective and naturalistic representation. The figures limbs are simplified into geometric shapes, emphasizing their structural elements rather than their organic curves. Small details, such as the orange-red nail polish on the hands and feet, introduce a touch of unexpected color and perhaps suggest an element of vanity or self-awareness within the subject.
The overall effect is one of emotional distance and psychological complexity. The profile view prevents direct engagement with the subject’s gaze, fostering a sense of detachment. The fragmented forms and distorted proportions contribute to a feeling of unease, hinting at underlying tensions or anxieties. Its possible to interpret this as an exploration of identity – a deconstruction of conventional portraiture that reveals more about the artist’s perception than a straightforward representation of the sitter. The limited color palette reinforces the somber mood, while the patterned headscarf might be seen as a symbolic attempt at adornment or disguise within a restrictive environment.