1962 Femme assise dans un fauteuil (Jacqueline) II Pablo Picasso (1881-1973) Period of creation: 1962-1973

The composition presents a seated figure, rendered in a style characterized by fractured planes and simplified forms. The subject appears to be a woman, positioned squarely within the frame, her posture suggesting a contemplative stillness. She is depicted against a backdrop of muted whites and grays, which contribute to an overall sense of quietude.
The artist employed a restricted palette dominated by blues, browns, blacks, and creams. These colors are applied in broad strokes, creating areas of intense contrast that define the figure’s form. The face, notably, is deconstructed; features are displaced and reassembled, with eyes rendered disproportionately large and positioned asymmetrically. This distortion disrupts conventional notions of portraiture, emphasizing an emotional or psychological state rather than a realistic likeness.
The womans attire consists of what appears to be a dark top and a draped garment in shades of brown and orange. The folds of the fabric are suggested through angular lines and planes, contributing to the overall fragmented aesthetic. Her arms are crossed over her lap, further reinforcing an impression of reserve or introspection.
A significant element is the chair itself, rendered in a similar style to the figure. Its geometric shapes echo those found elsewhere in the composition, blurring the boundaries between subject and environment. The background lacks detail; it serves primarily as a neutral space against which the figure stands out.
Subtly, there’s an interplay of light and shadow that enhances the sense of depth despite the flattened perspective. The stark contrasts create a dramatic effect, drawing attention to the womans face and her posture. One might interpret this work as exploring themes of identity, perception, and the complexities of human emotion through a lens of abstraction. The deliberate fragmentation suggests an attempt to capture not just outward appearance but also the inner life of the subject – a psychological portrait rather than a purely visual one.