1962 TИte de femme (Jacqueline) I Pablo Picasso (1881-1973) Period of creation: 1962-1973

The composition presents a portrait of a woman rendered in a fragmented and distorted style. The artist has employed a cubist approach, breaking down the subjects features into geometric planes and presenting multiple perspectives simultaneously. Here we see the face divided along the vertical axis; one side is depicted in profile with a pronounced nose and a suggestion of a mouth, while the other displays a frontal view with a more conventional arrangement of facial features. This juxtaposition creates a sense of disorientation and challenges traditional notions of representation.
The color palette is dominated by muted tones – ochre, grey, black, and pale blue – contributing to an overall somber mood. A light blue band adorns the woman’s hair, providing a visual contrast against the darker hues and drawing attention to her face. The background is a flat expanse of gold-yellow, which serves to isolate the figure and intensify its presence within the frame.
The artists brushwork appears deliberate yet expressive; visible strokes add texture and dynamism to the surface. There’s an intentional roughness in the application of paint, suggesting a focus on conveying emotion rather than achieving photographic realism. The eyes are particularly striking – large, dark, and seemingly melancholic – they convey a sense of introspection or perhaps even vulnerability.
Subtly positioned behind the womans head is a rectangular shape with green tones; its ambiguity prevents it from being readily identifiable as an object, instead contributing to the painting’s enigmatic quality. It could be interpreted as a symbolic representation of something hidden or obscured, adding another layer of complexity to the portrait.
The overall effect is one of psychological depth and emotional intensity. The fragmentation of form and the unconventional use of perspective suggest a desire to explore the complexities of human identity and perception. The painting seems less concerned with depicting an accurate likeness than with conveying a sense of inner turmoil or a nuanced understanding of the subjects character.