1950 La chКvre Pablo Picasso (1881-1973) Period of creation: 1943-1961

The artwork presents a stylized depiction of a goat, rendered in a manner that suggests both sculpture and painting. The animal is positioned in profile, facing left, against a stark black background which isolates it completely. Its form is constructed from angular planes, eschewing naturalistic curves for a geometric simplification. This approach lends the figure an almost mechanical quality, as if assembled rather than organically grown.
The color palette is dominated by shades of gold and brown, applied in thick impasto layers that create a textured surface. The metallic sheen contributes to a sense of artificiality, further distancing the image from direct representation. Light appears to emanate from within the figure itself, highlighting the planes and emphasizing its blocky construction.
The goat’s features are exaggerated; the horns are dramatically curved, the ears large and pointed, and the eyes appear almost vacant. The mouth is slightly open, hinting at a possible bleat or expression of mild distress. These details, while seemingly minor, contribute to an overall feeling of unease or awkwardness.
Beyond the literal depiction of an animal, the work seems to explore themes of artificiality versus nature, and perhaps even the dehumanization inherent in industrial processes. The goat’s stylized form could be interpreted as a commentary on the reduction of living beings to mere components within a larger system. The gold coloring might symbolize value or preciousness, ironically applied to an animal often associated with rural poverty or marginal existence.
The deliberate flatness and lack of depth create a sense of confinement, reinforcing the feeling that this creature is trapped within its own constructed form. Ultimately, the painting invites contemplation on the relationship between representation, reality, and the ways in which we construct meaning through artistic expression.