1962 Nu assis dans un fauteuil Pablo Picasso (1881-1973) Period of creation: 1962-1973

The composition presents a figure seated in what appears to be a chair or armchair. The artist has rendered the subject through a fractured and fragmented approach, characteristic of a deconstructionist style. Forms are reduced to geometric planes, overlapping and intersecting to create a sense of spatial ambiguity. There is no traditional perspective; instead, multiple viewpoints seem simultaneously present within the single image.
The figure itself is difficult to discern as conventionally human. The head is abstracted into angular shapes, with an eye rendered in stark relief against a flattened plane. Facial features are minimal, contributing to a feeling of detachment and anonymity. The body is similarly broken down – limbs appear disjointed, and the torso is suggested through overlapping planes rather than defined contours. A sense of weight or volume is achieved not through shading but through the juxtaposition of light and dark areas within these geometric forms.
The monochromatic palette – primarily grays, blacks, and whites – further emphasizes the formal qualities of the work. The lack of color contributes to a starkness that draws attention to the construction of form rather than any narrative or emotional content. Subtle gradations in tone suggest an attempt at modeling, but this is quickly undermined by the overall fragmentation.
The chair itself is integrated into the figure’s composition, its lines echoing and reinforcing the angularity of the subject. It isnt a clearly defined object; instead, it seems to be another facet of the fragmented form. The background is similarly ambiguous, appearing as an extension of the figure’s planes rather than a distinct space.
Subtextually, the work suggests a questioning of representation itself. By dismantling and reassembling the human form, the artist challenges conventional notions of beauty, identity, and perception. The fractured nature of the image could be interpreted as reflecting a sense of alienation or psychological fragmentation. The absence of color and detail contributes to an atmosphere of quiet contemplation, inviting viewers to actively engage with the construction of meaning rather than passively receiving it. It is not merely a depiction of a seated figure; its an exploration of how we perceive and construct reality through visual language.