a) Self-Portrait; b) Untitled (Woman Strolling)

Provenance

Sir Hugh Walpole [1884-1941];[1] (Leicester Galleries, London, 1945); Edward H. Molyneux, 1955; Ailsa Mellon Bruce. [1]Not inlcuded in his estate sale held at Christie's, London, 10 January 1947.

a) Self-Portrait; b) Untitled (Woman Strolling)

Picasso, Pablo

1901/1902

Accession Number

1970.17.164.a-b

Medium

a) black chalk and watercolor on wove paper; b) black chalk on wove paper

Dimensions

overall: 30.4 x 23.8 cm (11 15/16 x 9 3/8 in.)

Classification

Drawing

Museum

National Gallery of Art

Washington, D.C., United States

Credit Line

Ailsa Mellon Bruce Collection

Tags

Drawing Early Modern (1901–1950) Watercolor Paper Spanish

Background & Context

Background Story

This double-sided work from 1901-1902 provides two views of Picasso at a critical moment in his artistic development. The self-portrait on the recto depicts the twenty-year-old artist at the beginning of his Parisian career—young, intense, and still finding the style that would make him the most influential artist of the 20th century. The Woman Strolling on the verso—.different subject on the reverse—adds documentary value: Picasso often used both sides of his canvases during this impoverished period, when materials were expensive and his income uncertain. The 1901-02 date spans the crucial transition from Picasso's early academic style to the Blue Period's melancholy expressiveness. The self-portrait likely shows the young artist presenting himself to the Parisian art world—with the ambition and vulnerability of someone who has not yet established his reputation. The woman strolling—a boulevardière navigating Paris's streets—represents the social world that Picasso was entering, where the flâneur and the flâneuse observed modern life and transformed their observations into art. The double-sided format, born of economic necessity, has become a document of the artist's material circumstances: when Picasso could not afford fresh canvases, he painted on both sides, and this economy reveals the financial pressures that shaped his early Parisian practice.

Cultural Impact

This double-sided work influenced how Picasso's early career was understood, revealing both his self-presentation and his material circumstances. The self-portrait influenced how the young Picasso was perceived—establishing the intense, ambitious image that would persist throughout his career. The Woman Strolling influenced how Parisian modernity was represented in the young Picasso's work.

Why It Matters

This painting matters because it provides the most direct visual evidence of Picasso's self-image at the moment of his Parisian debut—the face of the young artist before fame, before Cubism, before the century's most revolutionary artistic career. The double-sided format, born of poverty, has become an invaluable document of the material conditions that shaped one of art's most important beginnings.