1910 TИte dhomme Pablo Picasso (1881-1973) Period of creation: 1908-1918

The drawing presents a fragmented portrait, executed in charcoal on paper. The subject appears to be a male figure viewed from the front, though conventional notions of representation are entirely abandoned. Instead of a cohesive depiction, we encounter a series of intersecting planes and angular forms that dismantle the human face and neck into discrete geometric components.
The artist has employed a limited tonal range, primarily relying on variations in charcoal density to define these shapes. Darker areas suggest shadow and volume, while lighter tones delineate edges and create a sense of spatial recession within the fractured composition. The absence of smooth transitions contributes to the overall feeling of deconstruction and instability.
Here we see an attempt not to capture likeness but rather to explore the underlying structure of perception itself. The eyes are reduced to sharp, triangular shapes that seem to pierce the viewer with an unsettling intensity. The mouth is suggested by a series of intersecting lines, conveying more of an abstract impression than a recognizable feature. The neck appears as a collection of overlapping planes, further emphasizing the breakdown of traditional anatomical representation.
Subtly embedded within this formal fragmentation are hints of psychological complexity. The disjointed nature of the figure suggests a sense of alienation or internal conflict. The sharp angles and stark contrasts evoke feelings of tension and unease. It is possible to interpret the work as an exploration of identity, questioning the stability of selfhood in a rapidly changing world.
The drawing’s monochromatic palette reinforces its introspective quality, directing attention towards the formal elements and their interplay rather than any narrative content. The overall effect is one of intellectual rigor combined with a palpable emotional charge – a portrait not of a man, but of an idea about perception and representation.