Many of Pablo Picasso’s paintings are associated exclusively with abstraction, but this is not the case. The artist was able to work in different manners and techniques. It is enough to study the theme of his relationship with Olga in the pictures, to which more than one work was devoted, and it becomes clear how Picasso was a versatile master.
This temperamental Spaniard loved the ballerina from Diagilev’s troupe with all his heart and was forced to make her an offer, as he was warned about the special mentality of Russian girls that “they must be married to.” Olga Khokhlova took it. Two creative natures were happy with each other, and this harmony was reflected in the paintings of the great master.
The portrait of Olga Picasso is not an abstract painting at all, but some sketchiness in it is, nevertheless, traceable. Carelessly written hair and fur on a collar, shallow light and shade, although they, of course, are present and create a mood, the vague outlines of the bracelet on Olga’s hand – all this takes the viewer away from the details, leading him to the main thing – the overall mood of the canvas. His idea is thoughtfulness.
Beautiful Olga is dreaming about something or trying to catch a thought. She is about to spark a spark in the mind of a young woman, and she will leave her chair, flinging from him like a blue moth. It can be seen what her chiseled hands are, and now she is frozen, like a magnificent antique marble statue.
The simplicity of the image – yet not a hindrance to the image seemed unusually alive. A moment of thought, a gaze directed nowhere so inherent in a man of art, and Olga was such. The slight tilt of the head, but a surprisingly smooth back, the position of the hands – all this gives the ballerina to the artist’s spouse. There is in the image and meekness peculiar to the Russian woman of those years. Art truly has no limits.