1962 Femme assise dans un fauteuil bleu 1 Pablo Picasso (1881-1973) Period of creation: 1962-1973

The composition presents a seated female figure against a dark, uniform background. The artist has employed a fractured and simplified approach to form, characteristic of a Cubist sensibility. Facial features are rendered with stark linearity; the eyes are disproportionately large and positioned asymmetrically, contributing to an unsettling gaze. The nose is reduced to a few angular strokes, while the mouth appears small and slightly downturned, suggesting perhaps melancholy or introspection.
The figure’s hair is depicted in thick, dark brushstrokes that blend into the contours of her clothing, creating a sense of unity between personal identity and attire. A vibrant green band encircles her upper torso, contrasting with the predominantly blue tones used for the rest of her garments. This color choice introduces an element of visual tension and may signify a symbolic layer beyond mere representation.
The artist’s handling of form is notable; planes intersect and overlap, defying traditional perspective. The figures body appears flattened, lacking depth or volume. This deconstruction of spatial relationships contributes to the overall sense of alienation and psychological complexity.
The date 21.11.62 inscribed in the upper right corner provides a temporal anchor, situating the work within a specific historical context. The dark background serves to isolate the figure, intensifying her presence while simultaneously suggesting confinement or introspection. There is an ambiguity inherent in the subject’s posture and expression; she appears both withdrawn and observant, creating a sense of quiet drama.
The paintings subtexts likely explore themes of identity, isolation, and the complexities of human emotion through a lens of formal experimentation. The deliberate distortion of features and spatial relationships suggests a rejection of conventional beauty standards and an interest in portraying psychological states rather than outward appearances.