1961 Femme au plateau et Е la sВbille Pablo Picasso (1881-1973) Period of creation: 1943-1961

The photograph presents a three-dimensional work situated within what appears to be a gallery setting. The primary focus is on a substantial sculpture constructed from roughly hewn timber. Its verticality dominates the composition; it rises with a somewhat precarious quality, suggesting an intentional instability. A rectangular platform extends horizontally from its upper portion, appearing almost as an afterthought or a functional element rather than an integral aesthetic feature.
The surface of the wood is visibly weathered and marked by the tool used in its creation – axe marks are apparent, contributing to a sense of raw materiality. The texture suggests a deliberate rejection of refinement; it’s not polished or smoothed but left in a state that emphasizes its origin as natural material. A smaller, curved element protrudes from the sculptures side, resembling a rudimentary wing or shield.
Behind this sculptural piece, a painting is visible. Here we see a figure rendered in simplified forms and bold colors – predominantly blues, greens, and yellows. The figure’s posture suggests an act of reaching or offering, with one hand extended towards the viewer. A large, stylized hand dominates the composition, its scale disproportionate to the figure it belongs to.
The interplay between the two artworks is significant. The rough, almost primitive quality of the sculpture contrasts sharply with the more graphic and stylized nature of the painting. This juxtaposition creates a dialogue about representation – one work emphasizing materiality and process, the other focusing on symbolic gesture and flattened perspective.
Subtly, the gallery setting itself contributes to the meaning. The clean lines of the floor and walls highlight the sculptural form, while the informational plaque visible near the painting suggests an institutional validation of both works. This context implies a consideration of artistic value within a formal framework. The shadows cast by the sculpture further emphasize its three-dimensionality and presence within the space, grounding it in reality while simultaneously hinting at a sense of monumentality.