Picasso Analysis

II
SUMMARY OF FINDINGS
Investigation of
a drawing
The subject work
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Subject work, detail, signature and date
Prepared for
by the Art Research Department
of Art Experts
NO DATE
IV
PRÉCIS
SCOPE OF WORK To determine whether the subject work is by or after Pablo
Picasso (Spain, 1881–1973) and to determine the subject of the portrait
DESCRIPTION Charcoal and pastel on paper, 32 by 27.5 centimeters, signed
“Picasso” lower right, and dated.
V
COMPARABLES
Though the portrait is not a realistic one, the general features are clearly
those of Jacqueline; this is particularly evident in the long narrow nose and
big eyes, such as in this portrait:
Oil on canvas, 1961, Picasso
VI
Another example is this aquatint representing Jacqueline, where her long

thin nose and big dark eyes are clearly in evidence:
Aquatint, 1961, Picasso
VII
Another example is this portrait, where again, Jacqueline’s eyes and nose
are clearly emphasized:
Oil on canvas, Jacqueline, 1961, Picasso
In the three examples provided above, one should also note the widespread
use of lines, which is typical of Picasso’s work during his late period, and
which he used even in his oils.
VIII
The abundance of crosshatching and use of lines in Picasso’s late work is

also in evidence in this drawing. The treatment on the right with verticals
and horizontals, is similar to those also on the right side of the drawing
being examined:
Color crayons, 1961, Picasso
IX
Zigzagging lines forming a crosshatched background even when it does not

appear to have been necessary:
Lithograph, 1961, Picasso
X
Border lines and zigzags and disfigured faces, in this case, Rembrandt:
Ball-point, Portrait of Rembrandt, 1961, Picasso
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Another point of similarity is in the treatment of the right eye (from the
viewer’s standpoint) with its fat, black circle around it. Picasso did this in
some other works, such as this one and the subject drawing:
Painted sheet-metal, 1961, Picasso
XII
The discrepancy between the two eyes, with the one on the left being almost
crossed-out or mutilated by the artist, is also repeated in other works:
Wax crayons, 1962, Picasso
XIII
Here we have again the use of a multiplicity of lines in all directions and the
curious eyelashes just as in the drawing being examined, and once more the
sitter has been disfigured almost beyond recognition:
Pencil on paper, 1962, Picasso
XIV
Another complex drawing in the very same late style:
Brown pencil, 1962, Picasso
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CONCLUSION
In our opinion the charcoal and pastel on paper is an authentic portrait of
Jacqueline by Pablo Picasso, indeed executed in 1961.
XVI
TERMS AND CONDITIONS
A. Art Expert's opinion does not imply any warranty or guarantee. Art Expert's opinion
on authenticity or attribution is meant solely for the client. It is not assignable and is
applicable only for the purpose of research.
B. Art Expert's opinion is based on the current condition of the subject work as of the
date of the report issued to the client.
C. The client's sole and exclusive remedy against Art Experts shall be refund of a
portion or the entire price paid for the project. There will be no other remedy. Art
Experts shall not be liable, in whole or in part, for any special, incidental, or
consequential damages, including, but not limited to loss of profits.
D. Art Expert's research on authentication or attribution is conducted with the highest

standards. Our conclusions are based in good faith; however, matters of authenticity
and attribution are based on generally accepted scholarly opinion, which is subject to
change.
E. Image Quality: Art Experts requires high-quality images in order to make its
determinations. It is the client's responsibility to supply suitable images to Art Experts.
The outcome of Art Expert's research is dependent upon the quality of the images
supplied by the client. In all cases, the result of the Art Expert's research cannot be
predicted with certainty or guaranteed.
F. Severability: If any part of these Disclaimers is found by any court to be invalid,

illegal, or unenforceable, that part shall be discounted and the rest of the Disclaimers
shall continue to be valid to the fullest extent of the law.
G. Jurisdiction and Choice of Law: The rights and obligations of all parties with respect
to this research and these Disclaimers, as well as any matters connected with them, shall
be governed by the laws of the state of Florida.
This report comprises sixteen (16) pages.
The Art Research Department at Art Experts

Picasso Analysis

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II

The subject work

Subject work, detail, signature and date

Oil on canvas, 1961, Picasso

Another example is this aquatint representing Jacqueline, where her long

Aquatint, 1961, Picasso

Oil on canvas, Jacqueline, 1961, Picasso

The abundance of crosshatching and use of lines in Picasso’s late work is

Color crayons, 1961, Picasso

Zigzagging lines forming a crosshatched background even when it does not

Lithograph, 1961, Picasso

Ball-point, Portrait of Rembrandt, 1961, Picasso

Painted sheet-metal, 1961, Picasso

Wax crayons, 1962, Picasso

Pencil on paper, 1962, Picasso

Another complex drawing in the very same late style:

Brown pencil, 1962, Picasso

D. Art Expert's research on authentication or attribution is conducted with the highest

F. Severability: If any part of these Disclaimers is found by any court to be invalid,

This report comprises sixteen (16) pages.

The Art Research Department at Art Experts

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