1955 Les femmes dAlger (Delacroix) X Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a scene populated by female figures within what appears to be an interior space, rendered in a fragmented and abstracted style. The artist employs a palette dominated by blues, reds, yellows, and greens, applied with broad brushstrokes that contribute to the overall sense of dynamism and visual complexity.
Here we see several women engaged in various postures – one seated and veiled, another reclining prominently in the foreground, and a third positioned further back, seemingly observing or interacting with the others. Their forms are deconstructed into geometric planes and angles, characteristic of a Cubist approach. Facial features are simplified to essential elements; eyes are rendered as stylized shapes, and mouths are reduced to linear markings. This reduction contributes to an ambiguity in expression, preventing any straightforward reading of emotion.
The spatial arrangement is deliberately flattened, eschewing traditional perspective. The background appears as a series of intersecting planes, creating a sense of depth that is simultaneously present and absent. Decorative patterns adorn some of these planes, suggesting architectural elements or perhaps textiles – details which hint at an exotic locale. A still life element – a vase with what seems to be fruit – is placed in the lower left corner, adding another layer of visual interest and potentially symbolizing abundance or domesticity.
The subtexts within this work are layered and open to interpretation. The presence of veiled figures evokes themes of modesty, mystery, and perhaps cultural difference. The reclining figure’s pose suggests sensuality, but it is tempered by the fragmented representation that prevents a straightforward depiction of the body. The overall effect is one of controlled chaos – a deliberate disruption of conventional pictorial space and figuration. It seems to explore the complexities of female identity, cultural encounters, and the challenges of representing human form in a rapidly changing world. The work’s formal innovations suggest an interest not only in depicting a scene but also in examining the very process of representation itself.