1920 Femme assise au chapeau Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a seated figure, rendered in a fragmented and abstracted style. The subject appears to be a woman, identifiable through the presence of a hat positioned atop her head. However, conventional representation is eschewed; instead, geometric shapes and planes dominate the visual field.
Here we see an immediate disruption of perspective. The face is not presented frontally but rather as a collection of angular forms, suggesting multiple viewpoints simultaneously. This fracturing extends to the body, which is deconstructed into overlapping planes of color – predominantly blues, browns, and oranges – that seem to exist independently of one another yet contribute to the overall form.
The palette is restrained, relying on earthy tones punctuated by cooler hues. The orange areas flanking the figure create a sense of enclosure or backdrop, while the blue segments suggest depth and shadow. Brushstrokes are visible, adding texture and emphasizing the artist’s hand in the creation process. Theres an intentional roughness to the application of paint, which contributes to the overall feeling of immediacy and spontaneity.
The posture of the figure is ambiguous; she appears both upright and slumped, further complicating any straightforward reading of her emotional state. The hat itself becomes a focal point, its sharp angles echoing the fragmentation of the face below. It could be interpreted as an element of sophistication or perhaps a shield against observation.
Subtly, there’s a sense of isolation conveyed by the figures placement within the composition and the lack of any discernible background beyond the geometric planes. The absence of detail encourages viewers to engage with the work on a purely formal level, focusing on the interplay of shapes and colors rather than narrative content. This approach suggests an interest in exploring the fundamental elements of visual representation itself, prioritizing structure over mimetic accuracy.