1954 Portrait de Sylvette David 24 au fauteuil vert Pablo Picasso (1881-1973) Period of creation: 1943-1961

Here we observe a portrait rendered in a style characterized by fractured planes and simplified forms. The subject is presented in profile, though the perspective is not strictly adhered to; elements are shifted and reassembled, creating a sense of simultaneity rather than spatial depth. A pale blue dominates the complexion, contrasted sharply with areas of deep purple and vibrant green that define the clothing and background.
The face itself is constructed from angular blocks, disrupting conventional notions of beauty or realism. The eyes, large and dark, are positioned slightly askew, lending an unsettling intensity to the gaze. A prominent nose, rendered as a sharp triangle, further contributes to the overall sense of geometric distortion. Hair, depicted in thick, flowing strands, is pulled back into a high ponytail, emphasizing the elongated verticality of the figure.
The artist employed bold outlines and flat planes of color, minimizing shading or tonal variation. This approach flattens the image, pushing it towards an almost two-dimensional surface. The background appears to be a loosely defined area of green, which seems to merge with the subject’s clothing at certain points, blurring the boundaries between figure and ground.
Subtly, there is a sense of melancholy conveyed through the color palette and the slightly downturned mouth. While the composition is fragmented, it does not feel chaotic; instead, theres an underlying structure that suggests a deliberate attempt to deconstruct and reassemble the human form. The work seems less concerned with capturing likeness than with exploring the possibilities of representation itself – how can we depict a person while simultaneously questioning the very nature of perception? The overall effect is one of controlled fragmentation, hinting at an interiority obscured by the formal constraints of the artistic approach.