Pablo Picasso
Two Women by the Window, 1959
Original Hand Signed Linocut in Colours on Arches Wove Paper
53.2 × 64.2 cm
20.9 × 25.3 in
20.9 × 25.3 in
Edition of 50
Series: Linocut
Original Hand Signed Linocut in Colours on Arches Wove Paper
Two Women by the Window by Pablo Picasso takes a familiar interior—two figures set against a window—and reduces it to a set of strong outlines and flat colour. Made in...
Two Women by the Window by Pablo Picasso takes a familiar interior—two figures set against a window—and reduces it to a set of strong outlines and flat colour. Made in 1959 as a linocut, the image is compressed into a shallow, controlled space, where everything is held in place through contrast rather than detail.
The scene is quiet but close. One woman leans inward, her hair falling in long, continuous arcs, while the second figure sits more upright, her form broken into sharper, angular sections. They don’t interact directly, but the proximity matters—the figures are locked into the same field, contained within a narrow band of space. The window behind them is barely described, acting less as a view and more as a vertical division that stabilises the scene.
The colour is reduced to warm browns, ochres and cream, cut against black. There’s no modelling, no tonal build-up—just flat areas of colour created through the cut of the block. The forms read clearly because of that restraint. Linocut, especially through the reduction method, forces that clarity. Once cut, nothing can be brought back, and Picasso uses that limitation to strip the image down to essentials.
What sits behind this is a much longer engagement with the female figure. Women are constant in Picasso’s work, but never fixed. They shift depending on the period, the relationship, the medium. By the late 1950s, these figures are no longer portraits in a traditional sense—they’re constructed, reworked, repeated. The individuality is there, but it’s filtered through a system of line and form.
There’s also a sense of distance. Earlier depictions of women often carried a more explicit emotional charge. Here, the tone is cooler, more contained. The figures are present, but not exposed. They occupy the space without resolving into narrative.
Two Women by the Window lands because it doesn’t overreach. Two figures, a dividing line, a reduced palette—that’s enough. The interest comes from how little is used to hold it together, and how controlled it feels without becoming static.
For more information or to buy Two Women by the Window by Pablo Picasso, contact our specialists using the enquiry button above.
Browse Picasso signed prints for sale, or enquire about selling Picasso prints.
The scene is quiet but close. One woman leans inward, her hair falling in long, continuous arcs, while the second figure sits more upright, her form broken into sharper, angular sections. They don’t interact directly, but the proximity matters—the figures are locked into the same field, contained within a narrow band of space. The window behind them is barely described, acting less as a view and more as a vertical division that stabilises the scene.
The colour is reduced to warm browns, ochres and cream, cut against black. There’s no modelling, no tonal build-up—just flat areas of colour created through the cut of the block. The forms read clearly because of that restraint. Linocut, especially through the reduction method, forces that clarity. Once cut, nothing can be brought back, and Picasso uses that limitation to strip the image down to essentials.
What sits behind this is a much longer engagement with the female figure. Women are constant in Picasso’s work, but never fixed. They shift depending on the period, the relationship, the medium. By the late 1950s, these figures are no longer portraits in a traditional sense—they’re constructed, reworked, repeated. The individuality is there, but it’s filtered through a system of line and form.
There’s also a sense of distance. Earlier depictions of women often carried a more explicit emotional charge. Here, the tone is cooler, more contained. The figures are present, but not exposed. They occupy the space without resolving into narrative.
Two Women by the Window lands because it doesn’t overreach. Two figures, a dividing line, a reduced palette—that’s enough. The interest comes from how little is used to hold it together, and how controlled it feels without becoming static.
For more information or to buy Two Women by the Window by Pablo Picasso, contact our specialists using the enquiry button above.
Browse Picasso signed prints for sale, or enquire about selling Picasso prints.
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