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Catogan de la chatte

Un catogan est une coiffure où les cheveux sont rassemblés en un chignon sur le dessus de la tête. #Coiffure #Chignon #Chat #Mode #Tendance

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Made in Paris, France as Spanish artist Pablo Picasso moved from his Blue Period to his Rose Period, the sitter appears in a thin white chemise whose strap slides off the near shoulder. Her build is slight and androgynous with a narrow chest, fine jaw, and long neck tapering to a delicate collarbone. Her dark hair is drawn into a low chignon. Her mouth is small, softly red; the eyelid and nose ridge are tenderly modeled. Cool light from the upper left flattens deep shadow, leaving planes of pale peach and cool blue to meet in quiet transitions. Firmer lines beneath her chin and at the temple hint at another figure under the surface that is stronger, sharper, and more boyish like a memory through skin.

This canvas embodies a pivot from melancholy to warmth while keeping Picasso's Blue Period’s restraint. Technical study shows an earlier image, likely of a young saltimbanque (street performer) boy, over which Picasso re-drew, lengthening the neck, refining the jaw, and adding the chignon to transform gender and mood. The result is a poised, ambiguous presence: tender yet reserved, hovering between boy and girl, blue and rose, poverty and poise. 

Some identify the sitter as “Madeleine,” Picasso’s companion before Fernande Olivier; others say the evidence is inconclusive. That uncertainty makes this a portrait of becoming rather than being. 

In Montmartre around 1904–1905, Picasso pared his means to contour, thin veils of color, and small inflections of mouth and eye. “I paint forms as I think them,” he later said, a line that suits this metamorphosis: one body revised into another by vision and paint.

The painting also reveals the young Spanish artist’s economy and restlessness with one canvas, two lives. The sitter’s identity may be uncertain, but the life around her is not: Picasso, just 23 years old, balancing hunger and ambition, testing how far a line and a wash of blue can carry feeling and how a portrait can hold the trace of who was there before.

Made in Paris, France as Spanish artist Pablo Picasso moved from his Blue Period to his Rose Period, the sitter appears in a thin white chemise whose strap slides off the near shoulder. Her build is slight and androgynous with a narrow chest, fine jaw, and long neck tapering to a delicate collarbone. Her dark hair is drawn into a low chignon. Her mouth is small, softly red; the eyelid and nose ridge are tenderly modeled. Cool light from the upper left flattens deep shadow, leaving planes of pale peach and cool blue to meet in quiet transitions. Firmer lines beneath her chin and at the temple hint at another figure under the surface that is stronger, sharper, and more boyish like a memory through skin. This canvas embodies a pivot from melancholy to warmth while keeping Picasso's Blue Period’s restraint. Technical study shows an earlier image, likely of a young saltimbanque (street performer) boy, over which Picasso re-drew, lengthening the neck, refining the jaw, and adding the chignon to transform gender and mood. The result is a poised, ambiguous presence: tender yet reserved, hovering between boy and girl, blue and rose, poverty and poise. Some identify the sitter as “Madeleine,” Picasso’s companion before Fernande Olivier; others say the evidence is inconclusive. That uncertainty makes this a portrait of becoming rather than being. In Montmartre around 1904–1905, Picasso pared his means to contour, thin veils of color, and small inflections of mouth and eye. “I paint forms as I think them,” he later said, a line that suits this metamorphosis: one body revised into another by vision and paint. The painting also reveals the young Spanish artist’s economy and restlessness with one canvas, two lives. The sitter’s identity may be uncertain, but the life around her is not: Picasso, just 23 years old, balancing hunger and ambition, testing how far a line and a wash of blue can carry feeling and how a portrait can hold the trace of who was there before.

Girl in a Chemise by Pablo Picasso (Spanish) - Oil on canvas / c. 1905 - Tate Modern (London, England) #WomenInArt #Picasso #PabloPicasso #art #artText #artwork #Tate #TateModern #PortraitofaGirl #BlueskyArt #ModernArt #OilPainting #chignon #bskyart #artbsky #ArtOfTheDay #TheTate #SpanishArtist

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Cindy Cinnamon avec Lunettes et Chemisier Léopard

Cindy Cinnamon avec Lunettes et Chemisier Léopard

«What’s New Pusycat? Qui a dit que le Look Léopard c’est quétaine?»
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MUA: MySelf
Photographie: MySelf
CindyCinnamon.com
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#Portrait #Pussycat #CindyCinnamon #léopard #cheetahprint #LookDuJour #LookOfTheDay #Chignon #Glasses #Lunettes #TheLook #AlwaysInStyle

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Jeune Fille du Pays de Loudéac, Uzel, Mûr
1913

Voir mercipourlacarte.com/picture?/9345/

Col. E. Hamonic

#cartepostaleancienne #bouquetdemarguerites #Bretagne #bretonne #châle #chignon #coiffebretonne #costumebreton #CôtesdArmor #jeunefille #Loudéac #Mûr #MûrdeBretagne #portrait #Uzel

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#Chignon comes from the #French phrase “chignon du cou”. Nape of the neck.

#French: Furteristic Rhythms Enrich Novice Choice Hymns. © dmp 2019

Zoe Saldana
isalons.biz/ZoeSaldanaLi...

iconversations.biz

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