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Woman in a Black Hat

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Woman in a Black Hat

Artist Pablo Picasso (Spanish (active France), 1881-1973)
Place of OriginFrance
Date1909
DimensionsPainting: 28 3/4 × 23 3/4 in. (73 × 60.3 cm)
Frame: 39 1/2 × 33 5/8 × 3 in. (100.3 × 85.4 × 7.6 cm)
Mediumoil on canvas
ClassificationPaintings
Credit LinePurchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, and with funds from the Florence Scott Libbey Bequest in Memory of her Father, Maurice A. Scott
Object number
1984.15
On View
Toledo Museum of Art (2445 Monroe Street), Gallery, 03
Label TextArtist and model Fernande Olivier (1881–1966) is the subject of this early Cubist portrait by Pablo Picasso. Wearing a bold feathered hat and seated in a high-backed chair, she rests her chin on her hand. The two met in 1904 upon Picasso’s move to Paris from Barcelona and were soon living together. Olivier, who had worked as an artist’s model for several years, became a frequent subject of Picasso’s early works. Later in life Olivier published memoirs of her stormy relationship with Picasso, despite his protests. Picasso’s early Cubist explorations show the ability of the style to question the possibilities and meanings of visual representation. He overlapped geometric planes and multiple points of view rather than using traditional perspective. His color palette became severely limited as he sought to treat subject and background with equal emphasis. The process of fragmenting and recombining visual components became known as Analytic Cubism. [image caption] Fernande Olivier, photographed by Pablo Picasso, 1906. Musée Picasso, Paris © RMN-Grand Palais/Art Resource, NY, Photo: Madeleine Coursaget.Published References

Museum der Gegenwart, vol. 3, no. 2, Berlin, 1932, p. 61.

Boeck, Wilhelm and J. Sabartes, Picasso, New York, 1955, no. 47, repr. p. 461.

Camon Aznar, Jose, Picasso y el cubismo, II*, (Oeuvres de 1906 a 1912), Paris, 1967, no. 178, plate 89.

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Clay, Jean, De l'Impressionnisme a l'art moderne, Paris, 1975, repr. p. 149 (col.).

Daix, Pierre and J. Rosselet, Picasso, The Cubist Years, 1907-1916, London, 1979, no. 329.

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Goff, Richard D. Survey of Western Civilization: the French Revolution to the Present, vol. C, St. Paul, MN, West Publishing, 1987, repr. (col.) p. 737, cover.

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Taylor, Bradley L., "The effect of surrogation on view response to expressional qualities in works of art," unpublished Ph.D. dissertation, University of Michigan, 2001, p. MI, p. 182.

Biedermann, Heike, Von Monet bis Mondrian: Meisterwerke der Moderne aus Dresner Privatsammlungen der ersten Halfte des 20. Jarhunderts, Munich, Deutscher Kunstverlag, 2006, no. 43, p. 72, abb. 30, repr. p. 177 (col.).

The Other Collection: Homage to Ernst and Hildy Beyeler, Basel/Riehen, Roundation Beyeler, 2007, pp. 77, 111, 118 (footnote 51), 281, repr. (col.) p. 77.

Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 299, repr. (col.).

Benson, Timothy O., Expressionism in Germany and France: From Van Gogh to Kandinsky, Munich, DelMonico Books, 2014, pp. 263-264, 268, repr. (col.) p. 264.

Exhibition History

Berlin, Secessions Austellungshaus, XXII, Ausstellung der Berliner Secession, 1912, no. 199.

Munich, Haus der Kunst, Picasso 1900-1955, 1955, no. 25, repr.

Kassel, Documenta I, 1955, cat. plate 35.

Minneapolis Institute of Arts, Picasso-Braque-Leger, Masterpieces from Swiss Collections, 1975, no. 6.

Basel, Galerie Beyeler, Picasso, A Centennial Selection, 1981, no. 8.

Vienna, Rathaus, Picasso in Wein, 1981, no. 13.

London, Tate Gallery, The Essential Cubism: Braque, Picasso and their Friends 1907-1920, 1983, no. 120.

Dresden, Staatliche Kunstsammlungen, Von Monet bis Mondrian: Meisterwerke der Moderne aus Dresner Privatsammlungen der ersten Halfte des 20. Jarhunderts, Sept. 16, 2006-Jan. 14, 2007, no. 43.

Basel/Riehen, Roundation Beyeler, The Other Collection, Aug. 19, 2007-Jan. 6, 2008.

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