1907 Nu Е la serviette Pablo Picasso (1881-1973) Period of creation: 1889-1907

The composition presents a female figure in a seated posture, rendered with a distinct departure from traditional representational techniques. The artist has fragmented and reassembled forms, resulting in a flattened perspective that challenges conventional notions of depth and spatial relationships. The body is constructed through angular planes and geometric shapes, rather than modeled volumes.
A dominant palette of ochre, brown, and blue defines the work. The figure’s skin tones are primarily rendered in variations of orange-brown, while the background utilizes a cooler range of blues to create a sense of recession. This contrast further emphasizes the figures presence within the pictorial space. Brushstrokes are visible and assertive, contributing to the overall textural quality of the surface.
The face is particularly striking. The eyes are disproportionately large and almond-shaped, positioned high on the forehead, lending an expression that oscillates between melancholy and detachment. The nose is reduced to a simplified triangular form, while the mouth appears as a narrow slit. This distortion of facial features contributes to a sense of alienation or psychological complexity.
The figure’s hands are depicted in a gesture of self-containment; one hand seems to be holding a cloth – perhaps a towel – close to her body. The positioning suggests vulnerability and introspection, hinting at a private moment shielded from external observation.
The background is not merely a backdrop but an active element within the composition. It’s composed of intersecting planes that echo the fragmentation seen in the figures form. These planes do not define a recognizable space; instead, they contribute to the overall sense of disorientation and abstraction.
Subtly, there’s a questioning of traditional beauty standards. The body is not idealized but presented as a collection of forms, devoid of conventional grace or sensuality. This approach suggests an interest in exploring the underlying structure of human form rather than its superficial appearance. The work seems to be less about depicting a specific individual and more about investigating the possibilities of representing the human figure through a new visual language – one that prioritizes formal experimentation over mimetic accuracy.