1969 Homme Е la pipe assis 2 Pablo Picasso (1881-1973) Period of creation: 1962-1973

The composition presents a figure seated in what appears to be a chair or on a bench. The subject is rendered with a deliberate fracturing and reassembly of features characteristic of Cubist aesthetics. A prominent eye, disproportionately large and positioned slightly off-center, dominates the left side of the face, conveying an unsettling directness. The nose is reduced to a simplified triangular form, while the mouth is suggested by a dark line extending from the lower portion of the facial structure.
The figure wears what seems to be formal attire – a jacket with buttons and decorative detailing in black and white stripes over a red garment. This clothing contributes to an air of formality or perhaps theatricality. The hands are stylized, one holding a pipe that is brought towards the mouth in a gesture of smoking.
The background is treated as a field of loosely applied brushstrokes in shades of blue and grey, creating a sense of atmospheric depth without offering specific spatial cues. This lack of defined perspective reinforces the painting’s focus on the figure itself. The chair or bench upon which the subject sits is rendered with curving lines and angular shapes, echoing the fragmented nature of the figures form.
The color palette is limited but impactful: red, black, white, and blue are used to create contrast and visual interest. The use of red, particularly in the garment worn by the figure, might suggest passion or intensity, while the black and white stripes introduce a sense of pattern and structure.
Subtly, there’s an element of melancholy conveyed through the subjects posture and expression. The oversized eye, though direct, also seems to carry a weight of introspection. The act of smoking, traditionally associated with contemplation or stress relief, further reinforces this impression. The overall effect is one of controlled distortion that invites reflection on identity, representation, and perhaps even the nature of perception itself.