1972 TИte * Pablo Picasso (1881-1973) Period of creation: 1962-1973

The drawing presents a portrait study rendered in charcoal on what appears to be toned paper. The subject is depicted from the chest upwards, occupying nearly the entire frame. A pronounced distortion characterizes the facial features; they are elongated and exaggerated, departing significantly from conventional notions of human representation.
Here we see an emphasis on angularity. The nose is dramatically extended, almost merging with the upper lip, which itself is rendered as a series of jagged lines suggesting teeth. The eyes are large and prominent, their pupils indicated by dark circles that contribute to a sense of intense scrutiny or perhaps distress. Brows are thick and furrowed, adding to an overall impression of anxiety or internal struggle.
The artist employed a loose, gestural line throughout the work. This technique lends a raw immediacy to the drawing, suggesting it was executed rapidly and spontaneously. The charcoal strokes are visible, creating texture and depth across the surface. There is a deliberate lack of shading; instead, the contrast between light and dark is achieved through varying pressure applied to the charcoal.
The neck appears thick and somewhat blocky, transitioning into shoulders that are sketched with minimal detail. This simplification directs attention towards the face, reinforcing its centrality within the composition. The background remains largely undefined, allowing the figure to dominate the visual space.
Subtly, a sense of vulnerability emerges from this exaggerated portrayal. While the distortion might initially suggest caricature or mockery, closer inspection reveals an underlying fragility. The open mouth and exposed teeth could be interpreted as signs of pain or anguish, while the large eyes convey a feeling of exposure and defenselessness. It is possible to read this drawing not merely as a portrait but as an exploration of psychological states – a visual manifestation of inner turmoil or introspection. The absence of any identifying markers beyond the subject’s form further reinforces the universality of these emotions.