Young Girl is an archetypal example of George Condo’s acclaimed visual vocabulary that delves deep into the depths of the fragmented human psyche. The painting forms part of a large corpus of fabricated portraiture that the artist began developing in the mid-1980s; during that decade, which the artist spent in Europe, Condo fervently studied the works of great masters such as Diego Velazquez, Jean-Baptiste Greuze and Edouard Manet. Their works sparked Condo’s interest in interrogating art historical tropes such as the ideals of female beauty under a fresh contemporary lens; the artist subsequently developed a unique and highly iconic aesthetic involving quasi-surreal and cubist portraits with imaginary sitters. Stylistically, Pablo Picasso’s influence on Condo’s modus operandi is unmistakable and the artist openly pays homage to his Modernist predecessor. While Picasso’s cubist portraits of his muses and mistresses simultaneously show various facets of their facial features on a single two-dimensional plane, Condo reapplies the technique of analytical cubism to his own paintings, showing different and often conflicting psychological states. In the artist’s own words: “Picasso painted a violin from four different perspectives at one moment. I do the same with psychological states. Four of them can occur simultaneously. Like glimpsing a bus with one passenger howling over a joke they're hearing down the phone, someone else asleep, someone else crying – I'll put them all in one face” (George Condo, quoted in The Guardian, 10 February 2014).