1919 Polichinelle Е la guitare avant le lever de rideau Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a figure poised before what appears to be a stage curtain. The individual is depicted holding a guitar, and their posture suggests anticipation or preparation for performance. A striking element is the fragmented nature of the form; the body is not rendered realistically but broken down into geometric planes and angular shapes. This deconstruction extends to the face, which is simplified to essential features – a stylized smile and abstracted eyes – conveying an almost mask-like quality.
The color palette is dominated by reds, whites, blacks, and touches of purple and green. The red hues are particularly prominent, saturating the background and forming dynamic, sweeping lines that evoke movement or theatrical drapery. These lines create a sense of visual energy, drawing attention to the central figure. The white areas provide contrast and highlight certain planes, while the black contributes to the overall feeling of starkness and drama. A band of green at the bottom provides a grounding element, suggesting a stage floor or backdrop.
The guitar itself is integrated into the figure’s form, its shape echoing and reinforcing the angularity of the body. The instrument appears almost as an extension of the individual rather than a separate object. This merging of subject and prop contributes to the overall sense of theatricality and symbolic representation.
Subtly, theres a feeling of melancholy or resignation conveyed through the figure’s posture and expression. While the smile is present, it seems somewhat detached, lacking genuine warmth. The fragmented form could be interpreted as representing a loss of identity or a commentary on the artificiality inherent in performance. The overall effect suggests a moment suspended between reality and illusion, hinting at themes of disguise, role-playing, and the fleeting nature of entertainment. The work doesnt offer a straightforward narrative but rather invites contemplation about the relationship between performer and audience, appearance and essence.