1947 Hibou sur une chaise 2 Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a fragmented scene dominated by geometric forms and a restricted palette of blues, grays, whites, and blacks. A central figure, seemingly an owl or similar nocturnal creature, is rendered in stark black with prominent, large eyes that command immediate attention. The animal’s form is not realistically depicted; instead, its constructed from angular planes, suggesting a deconstruction of natural representation.
The setting appears to be an interior space, though the perspective is distorted and flattened. A chair, also composed of geometric blocks, provides a perch for the creature. Adjacent to this arrangement are further architectural elements – what might be walls or window frames – delineated by sharp lines and contrasting planes. The background is largely monochromatic, with areas of lighter gray suggesting illumination from an unseen source. This light creates a sense of depth while simultaneously reinforcing the painting’s overall flatness.
The artists use of color contributes to the work’s somber mood. The blues and grays evoke a feeling of melancholy or introspection, while the stark black of the central figure emphasizes its isolation within the scene. The limited white areas serve as highlights, drawing attention to specific planes and edges, but do not offer any sense of warmth or optimism.
Subtextually, the painting seems to explore themes of confinement and observation. The creature’s placement on the chair suggests a state of captivity or surveillance. Its large eyes convey an unsettling awareness, hinting at a silent scrutiny of its surroundings. The fragmented architectural elements could be interpreted as symbolic representations of barriers or limitations, reinforcing the sense of enclosure.
Furthermore, the deliberate distortion of perspective and the reduction of forms to geometric shapes suggest a questioning of traditional notions of representation and reality. The work invites contemplation on the nature of perception and the ways in which we construct meaning from fragmented visual information. It is not merely a depiction of an owl on a chair; its a meditation on isolation, observation, and the constructed nature of our understanding.