Las Meninas (Velazquez) 1957

This version of Velázquez’s "Las Meninas" by Pablo Picasso uses oil paint, and probably canvas, to slice up and reassemble a masterpiece. The process feels intuitive, like sketching but with paint. The palette is high-key, contrasting flat areas of bold colors that vibrate against each other, creating an intense visual energy. Look at how Picasso uses black not as a shadow but as a shape, pushing the boundaries of form. The material qualities, like the thick paint application, give a tactile presence to the figures, emphasizing their deconstructed forms. Notice the rapid brushwork, the way he allows the strokes to remain visible, capturing the immediacy of the act. Take the small white dog, a simple form painted with such affection that it becomes one of the most tender details in the whole piece. This work reminds me of Philip Guston's later paintings, where figuration is re-imagined through a cartoonish yet deeply expressive style. It’s all about how painting can hold space for multiple interpretations, embracing a playful ambiguity that keeps us guessing.