Pablo Picasso
The impending collapse of the couple's relationship can be keenly felt in the brooding introspection of this piece. The soft curves and floral grace with which Picasso had previously approached Gilot's likeness are absent here, replaced by tense, scratchy lines that jump agitatedly across the image. Picasso once said that “my work is my diary. For those who know how to read, I have painted my autobiography.”
During the early 50's Picasso's passion for lithography was waning. This was partially due to his new living arrangements. Having quit Paris for the Côte d'Azur in 1948, he now found himself in an environment where the specialist equipment for making prints was lacking. He sometimes had to wait weeks for a printing plate to be shipped down from the Atelier Mourlot for proofing. We can see the slowdown in production reflected in the sequencing of Picasso's lithographs. His previous completed plate had been created at the end of January 1953. In more ways than one, Tête sur fond noir represents the ending of an era.
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