1934 Femme au chapeau rouge (Marie-ThВrКse) Pablo Picasso (1881-1973) Period of creation: 1931-1942

The composition presents a figure seated on what appears to be a chair or bench, rendered in a style characterized by fragmentation and distortion typical of Cubism. The subject is female; however, her features are abstracted, with the face presented as a collection of planes and angles rather than a realistic depiction. A vibrant red hat sits atop her head, contrasting sharply with the pale complexion of her skin.
The artist employed a limited palette dominated by whites, creams, yellows, reds, and blacks, creating a sense of both vibrancy and starkness. The figure’s body is similarly deconstructed; breasts are suggested rather than fully formed, and limbs appear disjointed, contributing to an overall feeling of instability and psychological complexity. A cluster of grapes hangs from her hand, adding a touch of still-life element within the portraiture.
To the left of the subject, a large sunflower looms, its bright yellow petals and green leaves providing a visual counterpoint to the figure’s pallor. The background is divided into planes of color – black on one side, white on the other – which further emphasizes the two-dimensionality of the work and contributes to the sense of spatial ambiguity.
The posture of the woman suggests introspection or melancholy; her gaze is directed slightly downward, and her expression is difficult to decipher due to the abstracted nature of her features. The presence of the sunflower could be interpreted as a symbol of vitality and hope, juxtaposed against the figure’s apparent sadness. Alternatively, it might represent an idealized vision, further distancing the subject from reality.
The work seems less concerned with literal representation than with exploring the psychological state of the sitter. It is not merely a portrait but rather an attempt to convey a sense of interiority through formal distortions and symbolic elements. The disjointedness of form mirrors a possible emotional fragmentation, suggesting a complex interplay between appearance and inner experience.