1918 lhomme Е la guitare Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a fragmented figure seated alongside a guitar, rendered in a style characterized by geometric abstraction and multiple perspectives. The overall effect is one of deconstruction and reassembly, challenging conventional notions of representation.
Here we see the human form reduced to a series of planes and angles; the head appears as an oval shape dominated by a central circular void that might suggest an eye or a point of introspection. The body is similarly broken down into angular blocks, with a sense of solidity conveyed through the use of overlapping shapes and varying shades of green, grey, and brown. The figure’s posture seems relaxed, yet the disjointed nature of its depiction creates a feeling of unease or detachment.
Alongside the figure sits a guitar, also fragmented and reconfigured. Its form is similarly composed of geometric elements, with the strings suggested by thin, angular lines. The instruments presence implies music, but the fractured representation denies any sense of harmonious sound; instead, it suggests a disruption or silencing of melody.
The color palette is restrained, primarily utilizing muted earth tones and greens. The limited range contributes to a somber mood, while the subtle variations in tone create depth and visual interest within the flattened space. A background plane, rendered in a lighter shade of green, provides a backdrop against which the figures are set, but it too is fractured and lacks any sense of traditional perspective or spatial recession.
Subtly, the work seems to explore themes of displacement and alienation. The fragmentation of both figure and instrument could be interpreted as a reflection of societal upheaval or personal trauma – a visual metaphor for shattered identities or lost connections. The absence of clear narrative context further enhances this ambiguity; the scene is presented without explanation, inviting viewers to project their own interpretations onto the fragmented forms. The deliberate distortion of perspective and form suggests an interest in exploring the subjective nature of perception and the limitations of representational language.