Galerie Louise Leiris, Paris
Private Collection, Paris (acquired from the above circa 1970)

Christian Zervos, Pablo Picasso, œuvres de 1969, Paris, 1976, vol. XXXI, no. 164, illustrated pl. 53
The Picasso Project, Picasso's Paintings, Watercolors, Drawings and Sculpture. The Sixties III, 1968-1969, San Francisco, 2003, no. 69-161, illustrated p. 149

Executed on green wove paper, not laid down, attached to the mount along all four edges. The left edge is deckled. Apart from a tiny stain to the right of the upper edge and some very minor hairline flattened creases, mainly to the lower half of the sheet, this work is in good original condition. Colours: Overall fairly accurate, although the paper tone is greener in the original.
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In the final years of his life, Pica꧟sso rebelled against time by pouring himself into his art. This period bore witness to an incredible output of work, executed with remarkable vigour and boldness. Musketeers, acrobats, pierrots and painters continued to populate his compositions. However, when considered in the context of Picasso's looming mortality, these subjects took on new meanings. The musketeer now sy🏅mbolised the artist's waning virility; the smoking man, vices of old. 

Marie-Laure Bernadac analyses the figures from this period as follows, 'with their bearded, elongated faces, their huge questioning eyes, their long hair with or without hats, these "Heads" represent one last concession on the painter's part to the "all too-human". By contrast with the musketeers  who all have the same face - these are true portraits, strongly characterised and individual.' She continues: 'Picasso's confrontation with the human face, which makes him into the great portrait - painter of the twentieth century, brings him back to a confrontation with himself, the painter, young or old' (Marie-Laure Bernadac, Late Picasso: Paintings, Sculpture, Drawings, Prints, 1953-72, (exhibition catalogue), London, 1988, p✅p. 82-3).

Tête d'Homme is a prime example of Picasso's late work. Wide-eyed, this man, who encompasses almost the entire sheet, boldy stares back at the viewer.  He is built up&nౠbsp;from strong, swirling lines of vibrant colours imbued with a frenetic sense of energy.  Picasso's presence is undeniably strong in this drawing. While he may not be able to conquer time, he is determined𝔉 to leave his mark.

Image of verso: 5MHGQ_2
Verso of the present work