Museo Nacional Picasso-París
© Sucesión Picasso, VEGAP, Madrid, 2023
The work Paul dressed as a harlequin (1924) shows a combination of tenderness and melancholy in portraying the artist's son, Paul, in a harlequin costume. The choice of dressing the boy in this costume is significant, since Picasso, fond of the figure of the harlequin since 1901, projects onto his son the complexity and duality of this theatrical character, who over time became his melancholic double.
This costume was given to Picasso by the French novelist, playwright, poet, essayist and filmmaker Jean Cocteau, who used it to dress some of his models, including his son.
The representation of Paul in this painting is done with a precise and meticulous drawing, which contrasts with the apparent lack of finish in the background and peripheral elements. This choice could symbolize fragility and childlike melancholy and, at the same time, denotes the influence of the cubist period, evident in the absence of depth.
The neoclassical inspiration, derived from his trip to Italy in 1917, is evident in the detailed representation of Paul's face and hands. In addition, the choice to dress him in the harlequin costume that Picasso received from Jean Cocteau adds an autobiographical layer to the painting, connecting the figure of his son to his own experiences and artistic facets.
It is interesting to note the connection to earlier works, such as Portrait of Olga in an Armchair (1918), where Picasso depicts his first wife. In both pieces the artist uses similar elements of composition and color, creating a continuity in his work. The recurring presence of the figure seated in an armchair in several works suggests a thematic and stylistic continuity in the artist's oeuvre.
Sources:
Musée national Picasso-París: