Pablo Picasso

In the final years of his life, Picasso rebelled against time by pouring himself into his art.  This period bore witness to an incredible output of work, executed with remarkable vigour and boldness. 

Musketeers, acrobats, pierrots, painters and heads of smokers continued to populate his compositions.  However, when considered in the context of Picasso's looming mortality, these subjects took on new meanings.  The musketeer now symbolized the artist's waning virility; the smoker, vices of old.  Marie-Laure Bernadac analyses the figures from this period as follows, 'With their bearded, elongated faces, their huge questioning eyes, their long hair with or without hats, these 'Heads' represent one last concession on the painter's part to the 'all too-human'.  By contrast with the musketeers  who all have the same face - these are true portraits, strongly characterized and individual.'  She continues, 'Picasso's confrontation with the human face, which makes him into the great portrait - painter of the twentieth century, brings him back to a confrontation with himself, the painter, young or old' (Bernadac, Late Picasso: Paintings, Sculpture, Drawings, Prints, 1953-72, (exhibition catalogue), London, 1988, pp. 82-3).

Tête d'Homme is a prime example of Picasso's late work.  Wide-eyed, this man, who encompasses almost the entire sheet, boldy stares back at the viewer.  He is built up from strong, swirling lines of vibrant colours imbued with a frenetic sense of energy.  Picasso's presence is undeniably strong in this drawing.  While he may not be able to conquer time, he is determined to leave his mark.