Among the people Picasso became acquainted with in the bohemian milieu of Montmartre was a young woman, known only as ‘Madeleine’, who became his lover and whom he immortalises in this tender portrait. Possessing a thin, boyish frame and coquettish charm, she appears in many of the artist’s works from both his Blue and Rose periods. Here, she looks directly at the viewer with a coy gaze that suggests a hint of sadness. The close crop of her head emphasises the fineness of her features, which Picasso forms through subtle cross-hatching, carefully modelling the waves of her hair piled on top of her head. With its intimate format, this print resembles a carte-de-visite – the business card-sized portrait photography people could easily carry, perhaps to remind them of their beloved.

Prints such as Tête de femme: Madeleine reveal the degree to which Picasso’s life and art were inseparable. Each time Picasso entered a new relationship, there were bursts of creative activity and changes in direction, with his manner of depicting his lovers often influenced by his fluctuating emotional state. Almost more than any other artist, Picasso used his art to wrestle with the joys and passions, conflicts and fears of his life.