1917 Rideau pour le ballet Parade Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a theatrical scene framed by heavy, rust-colored curtains that dominate the left and right edges. These drapes create a sense of enclosure, suggesting a stage setting or a deliberately constructed spectacle. Behind them, a backdrop reveals a stylized landscape – a flat, green expanse punctuated by sparse foliage and a pale sky.
Central to the scene is a large, white equine figure with prominent wings. It stands poised on its forelegs, seemingly about to step forward, while its hindquarters remain planted firmly on a patterned floor. A spherical object, adorned with celestial markings, rests near its hooves, hinting at themes of mythology or cosmic symbolism.
To the right of the winged horse, a group of figures is arranged around what appears to be a table or low platform. Their attire is eccentric and theatrical; costumes blend elements of formal wear with playful, almost grotesque details. One figure wears an elaborate headdress resembling a crown, while another sports a patterned suit reminiscent of court jesters. The expressions on their faces are difficult to discern, contributing to the overall sense of ambiguity and detachment.
A slender female figure, clad in a pinkish-white costume, ascends a ladder positioned near the left curtain. Her posture is elongated and stylized, further emphasizing the artificiality of the environment. A small, dark animal – possibly a cat or fox – is situated at the base of the table, adding an element of unexpected domesticity to the otherwise surreal tableau.
The color palette is dominated by earthy tones – ochres, browns, and greens – punctuated by the vibrant red of the curtains and the pale pink of the female figure’s costume. The application of paint appears deliberate and somewhat flat, eschewing traditional techniques of perspective and shading in favor of a more stylized representation.
Subtly, the work seems to question conventional notions of narrative and representation. The figures appear less as characters engaged in action than as props within an elaborate construct. The juxtaposition of mythical imagery (the winged horse, celestial sphere) with mundane elements (the animal, patterned clothing) creates a sense of disorientation and invites viewers to consider the constructed nature of spectacle itself. There is a deliberate distancing from emotional engagement; the figures are presented without clear motivations or relatable expressions, suggesting an exploration of performance as a detached act rather than a conduit for genuine feeling.