Like many artists, Pablo Picasso was inspired by those around him and, over the years, the faces that meant most to him frequently appeared in his art. This was particularly true regarding the women in his life. The faces of the artist's many muses feature across his oeuvre, presenting a visual diary of his different infatuations. One of the most compelling ceramic examples of the female form, Visage de Femme of 1953, most likely depicts Jaqueline Roque, Picasso’s second wife and the partner with whom he would stay with for the final decades of his life. They met serendipitously in 1953 following Picasso’s move to Vallauris, where Roque was working temporarily in the Madoura Pottery studio’s adjoining shop. Picasso quickly became infatuated with Roque and delivered a rose to her every day until she eventually agreed to be his companion. Over the course of their relationship, Roque’s striking features would feature in Picasso’s work over 400 times, with her likeness becoming the most featured face of his oeuvre.
Seemingly simple, in Visage de Femme Picasso fashions a striking composition with minimal detail that nevertheless delineates delicate femininity. Wavy hair is alluded to through ripples that border the curvaceous face. Adorning her décolletage is a turquoise necklace that offsets the strong horizontal nose – a feature that defines Jacqueline’s presence in Picasso’s works – below which three delicate lines suggest pursed lips. With large almond eyes and dark complexion rendered in playful spirit, Visage de Femme reflects the joyful and abundant period in the artist’s later life, exemplified in his light-hearted, exuberant ceramics.