1965 TИte de femme 3 Pablo Picasso (1881-1973) Period of creation: 1962-1973

The drawing presents a fragmented portrait, executed in graphite on what appears to be a page from a sketchbook. The subject is clearly female, though rendered through a radical deconstruction of conventional representational forms. Facial features are not depicted realistically; instead, they are broken down into geometric shapes and planes that overlap and intersect.
The eyes, positioned asymmetrically, possess an intensity heightened by the sharp angles surrounding them. A single, stylized eye is prominent, while the other is suggested through a series of lines and curves. The nose is reduced to a triangular form, and the mouth appears as a thin, angular slit. Hair is indicated by a series of jagged lines that extend outwards from the head, creating a sense of dynamism and instability.
The artist’s use of line is particularly noteworthy. Lines are not used to define contours in a traditional manner; rather, they serve to delineate planes and create a sense of depth through overlapping forms. The sketch exhibits a deliberate lack of shading or tonal variation, which contributes to the overall flatness of the image. This absence emphasizes the drawing’s focus on form and structure over realistic depiction.
The inscription 25.9.65. Nimes IV in the upper left corner provides contextual information regarding the date (September 25, 1965) and location (Nîmes), as well as a designation “IV,” suggesting this is part of a series. This notation reinforces the impression that we are viewing a study or preliminary sketch rather than a finished work.
Subtextually, the drawing suggests an exploration of identity and perception. The fragmentation of the face can be interpreted as a representation of the complexities and contradictions inherent in human experience. It might also reflect a questioning of traditional notions of beauty and representation. The angularity and sharp lines convey a sense of tension and psychological intensity, hinting at an underlying emotional complexity within the subject. The sketch’s unfinished quality invites speculation about the artists process and intentions, suggesting that it is less concerned with creating a definitive likeness than with exploring the possibilities of form and expression.