The depiction of a woman “literally materialized right in front of us… piece by piece,” as a result of the mosaic-like method used by an infrared camera to scan an image, elucidated Barnaby Wright, deputy head of the Courtauld Gallery. Experts had a strong inkling that something intriguing lay hidden beneath the surface, as evidenced by brushstrokes that did not align with the finished portrait. However, the actual contents of the discovery remained a mystery until the scanning process commenced, Wright revealed in an interview with CNN. The identity of the enigmatic woman depicted in the artwork still eludes researchers, although she bears a resemblance to other women painted by Picasso during his time in Paris in 1901, sporting the fashionable chignon hairstyle popular in the city at that time. The completed painting stands as an early representation of Picasso’s renowned Blue Period.
“She may always remain a somewhat unidentified model,” mused Wright, while expressing the ongoing efforts to unravel her identity. Speculations range from her being a mere model for Picasso to a potential lover or friend of the artist. Picasso, only 19 years old upon his arrival in Paris in 1901, was already experimenting with different approaches to capturing his subjects. By discarding the initial portrait and painting over it, Picasso likely sought not only to shift the subject matter but also to evolve his artistic style towards the iconic approach of his Blue Period, explained Wright. During this phase, marked by the use of somber hues, Picasso departed from his earlier Impressionistic techniques, a transition partly influenced by the tragic suicide of his close friend Carlos Casagemas.
The examination of X-ray images suggests that Picasso revisited and modified the canvas multiple times, potentially due to financial constraints and a penchant for transforming one image into another. Rather than starting anew on a blank canvas, Picasso layered the figure of his friend directly atop the woman’s portrait, resulting in a striking fusion of the two figures. Despite these modifications, traces of the woman’s portrait linger discernible to the discerning eye. Wright observed that understanding the underlying technical image enhances one’s appreciation of the finished artwork, as certain marks such as her eye, ear, and hair become noticeably apparent.
The ethereal presence of the woman, existing not just beneath the surface but seemingly embedded within it, adds an intriguing dimension to the piece. Titled “Portrait of Mateu Fernández de Soto,” the artwork will be showcased at the Courtauld Gallery in London from February 14 to May 26. To stay updated with more news and newsletters from CNN, sign up for an account on CNN.com.
