1912 TИte dhomme1 Pablo Picasso (1881-1973) Period of creation: 1908-1918

Here we observe a drawing executed in graphite on paper, presenting a fragmented portrait of a male figure. The composition is dominated by geometric forms and sharp angles, disrupting traditional notions of representation. The face is not rendered as a cohesive whole but rather broken down into planes that overlap and intersect, creating a sense of simultaneity – as if multiple perspectives are presented at once.
The artist has employed a limited tonal range, primarily relying on variations in pressure to suggest depth and volume within the angular structures. A circular form, likely representing part of the head or perhaps an abstracted hat, is positioned near the upper left quadrant, its curvature contrasting with the predominantly linear elements. The eyes are depicted as sharp, triangular shapes, conveying a sense of intensity or introspection.
The figure’s neck appears elongated and fractured, extending downwards into a series of angular lines that suggest shoulders and torso. These lower forms are less defined than the facial features, contributing to an overall impression of instability and deconstruction. The background is largely absent, with only faint indications of linear structures hinting at spatial context without providing concrete definition.
Subtly, the drawing seems to explore themes of identity and perception. By dismantling the conventional representation of a human face, the artist challenges the viewer’s understanding of what constitutes likeness or reality. The fractured nature of the figure could be interpreted as a reflection of psychological fragmentation or the complexities of modern experience. There is an underlying sense of alienation conveyed through the disjointed forms and lack of emotional expression in the depicted features.
The drawings starkness, combined with its geometric precision, suggests a deliberate attempt to move beyond mimetic representation towards a more conceptual exploration of form and space. It implies a focus on the underlying structure of perception rather than surface appearance.