1915 Femme assise Е la mandoline Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a fragmented figure seated before what appears to be a musical instrument. The artist has eschewed traditional representational techniques, opting instead for a deconstruction of form through geometric planes and a restricted palette. A dominant impression is one of spatial ambiguity; the background and foreground are not clearly delineated, contributing to a sense of flattened perspective.
The figure itself is rendered as an assemblage of angular shapes – rectangles, trapezoids, and triangles – in muted greens, browns, blacks, and touches of red and blue. The face is suggested by minimal markings: a dark oval for the head and a few lines indicating eyes or features. Theres no attempt at realistic portrayal; instead, the artist seems interested in conveying an essence rather than a likeness.
The instrument, partially obscured, is defined by curved forms – notably a circular shape that might represent the body of a mandolin. The surrounding space is similarly broken down into geometric blocks, some overlapping and intersecting with the figure, further blurring the boundaries between subject and environment. A pattern of small dots appears on portions of the figure’s upper body and what may be clothing, adding texture and visual interest.
The overall effect is one of deliberate disorientation. The lack of depth and the fractured forms challenge conventional notions of perspective and representation. This approach suggests a focus not on outward appearance but on an exploration of perception itself – how we construct meaning from fragmented information. Theres a quietness to the work, a sense of introspection that transcends any narrative content. It’s possible to interpret this as a reflection on the instability of experience or a commentary on the limitations of visual language. The subdued color scheme reinforces this feeling of restraint and contemplation.