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Analysis Eapp

Pablo Picasso painted "Weeping Woman" in 1937 after completing his anti-war mural Guernica. The painting depicts Dora Maar, Picasso's mistress and muse, who was the model for a series of weeping woman images Picasso created in response to the Spanish Civil War. Executed in Picasso's signature Cubist style using angular fragments and overlapping planes, "Weeping Woman" depicts an anguished woman sobbing into a handkerchief in a flattened, two-dimensional composition without attempts at depth or modeling. It remains an iconic example of Picasso's anti-war theme and analytical Cubist technique.

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71 views2 pages

Analysis Eapp

Pablo Picasso painted "Weeping Woman" in 1937 after completing his anti-war mural Guernica. The painting depicts Dora Maar, Picasso's mistress and muse, who was the model for a series of weeping woman images Picasso created in response to the Spanish Civil War. Executed in Picasso's signature Cubist style using angular fragments and overlapping planes, "Weeping Woman" depicts an anguished woman sobbing into a handkerchief in a flattened, two-dimensional composition without attempts at depth or modeling. It remains an iconic example of Picasso's anti-war theme and analytical Cubist technique.

Uploaded by

Jambi Lagonoy
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Jambi L.

Lagonoy
12 HUMSS-C

English for Academic Purposes Program


(1st Semester)

Analysis of Weeping Woman

Pablo Picasso, probably the greatest of all 20th century painters, is best known for
two things: his co-invention - together with Georges Braque (1882-1963) -
of Cubism and Collage; and his anti-war stance, as expressed in various works of
art. Both of these things come together in "Weeping Woman", which is one of the
most famous portraits by Picasso, executed in the style of analytical Cubism but
with greater realism than usual. It remains an iconic example of Spanish painting,
and represents a continuation of the artist's anti-war theme instigated by his
mural Guernica (1937, Reina Sofia, Madrid), which was his response to the terror-
bombing of civilians during the Spanish Civil War. After completing the mural
painting, Picasso spent many months creating a series of additional images of
weeping women, based on one of the figures which appeared in Guernica. The
"Weeping Woman" in the Tate is the last and most elaborate of this series. Some
others include: "Weeping Woman" (1937, oil on canvas, National Gallery, Victoria);
"Weeping Woman" (1937, oil on canvas, Musee Picasso, Paris); "Weeping Woman"
(1937, Graphite and crayon on paper, Tate Collection); "Weeping Woman" studies
(1937, pen and Indian ink on paper, Musee Picasso, Paris); and
the Supplicant (1937, gouache on wood panel, Musee Picasso, Paris).

The model for the entire "Weeping Woman" series was the stunningly attractive
professional photographer Dora Maar (1907-97) (born Henriette Theodora
Markovic), who was one of the leading surrealist artists of the 1930s. After meeting
Picasso in Paris, in 1936, she became his mistress, muse, and intellectual
companion. A strong personality, she was instrumental in expanding Picasso's
political awareness, and he painted her dozens of times over the course of their
relationship (1938-44). See, for instance, Dora Maar Seated (1938, Ink, gouache
and oil paint, Tate Collection); and Dora Maar au Chat (1941, oil on canvas, Private
Collection), which sold at Sotheby's, New York, in 2006 for a record $95.2 million.
See: the 10 Most Expensive Paintings. Maar actually painted a few minor details
of Guernica, but was best-known for her documentary photography documenting
the successive stages of Guernica as Picasso painted it in 1937, in his workshop on
the Rue des Grands Augustins.
"Weeping Woman" depicts an anguished, sobbing female, who holds a handkerchief
up to her face to catch her copious tears. This universal image of suffering is
painted in the flattened style of Picasso's early analytical Cubism, characterized by
the use of angular and overlapping fragments of the subject's face, as if it were
painted from different viewpoints simultaneously. In order to emphasize the two-
dimensional nature of the work, Picasso makes no attempt to create 'depth' in the
painting, by the use of linear perspective or any type of modelling/shading
like chiaroscuro.

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