1913 Portrait de Guillaume Apollinaire Pablo Picasso (1881-1973) Period of creation: 1908-1918

The drawing presents a fragmented figure rendered through a system of geometric planes and intersecting lines. The composition is dominated by a monochromatic palette – variations of gray and black on a warm, aged paper background – which contributes to a sense of austerity and intellectual rigor. Here we see the subject broken down into discrete components; these are not merely simplified but actively disassembled and reassembled in an unconventional manner.
The arrangement suggests a portrait, though conventional notions of likeness are entirely abandoned. A suggestion of a head is discernible at the upper portion of the composition, indicated by curved lines that might represent hair or facial contours. Below this, a vertical element dominates the central space; it could be interpreted as a torso or a stylized representation of the neck and shoulders. The figure’s limbs appear as angular projections, extending from these core forms in directions that defy traditional perspective.
The artist employed hatching and cross-hatching to create tonal variations and delineate the planes. This technique not only defines form but also introduces a textural quality, adding depth and complexity to the surface of the drawing. The lines are often hesitant or broken, suggesting a process of continuous revision and exploration rather than a definitive statement.
Subtly embedded within this fractured structure are hints of recognizable features – a curve that might be an eyebrow, a suggestion of a nose – but these are quickly subsumed by the overall geometric abstraction. This deliberate obfuscation implies a focus on the essence or intellectual presence of the subject rather than its physical appearance. The drawing seems to explore the idea of perception and representation itself; it questions how we construct meaning from visual information and challenges the viewer to actively participate in the process of reconstruction.
The signature, located at the lower right corner, is rendered with a similar economy of line as the rest of the work, further emphasizing the artist’s commitment to a restrained and analytical approach. The overall effect is one of intellectual intensity and formal innovation – a portrait not of a person but of an idea about representation.