1961 Le dВjeuner sur lherbe (Manet) 8 Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a group of figures gathered in what appears to be an outdoor setting, dominated by a vibrant green expanse that serves as both ground and backdrop. Three human forms are centrally positioned, alongside a canine companion. The artist has employed a distinctive style characterized by fragmented planes and angular distortions, which deconstructs the traditional representation of form.
The figures are not rendered with naturalistic detail; instead, their features are simplified and rearranged, creating an effect of simultaneity – as if multiple perspectives are presented at once. Facial expressions are ambiguous, conveyed through stylized lines and geometric shapes rather than nuanced emotion. The man on the right reclines casually, his arm draped over his knee, while the figure to his left sits in a more upright posture, her gaze directed outwards. A third individual, positioned centrally, appears to be leaning towards the dog, which is depicted with similar angularity.
The color palette is restrained, primarily utilizing shades of green, blue, and grey. The limited range contributes to a sense of coolness and detachment. The background foliage is rendered in broad strokes, lacking detail and further emphasizing the flatness of the pictorial space.
Subtly, theres an unsettling quality to the scene. The figures’ disconnection from one another – their lack of interaction or shared gaze – suggests a psychological distance. The dog, despite its presence, does not seem to bridge this gap; it is simply another element within the fragmented arrangement. This sense of alienation and the deliberate disruption of conventional perspective challenge traditional notions of beauty and harmony in art. It’s possible to interpret the work as an exploration of perception itself – a questioning of how we construct meaning from visual information, and a rejection of idealized representations in favor of a more fractured and subjective reality.