Eyes with lashes
The two eyes sit at different heights, each a pale bulb ringed with spiky lashes. They stare out of a face that has been broken into flat, angular planes.

“This etching is a ferocious image of grief, part of a series created in the wake of *Guernica*, expressing the deep anguish of war through a powerfully distorted female figure.”
A woman's face is a contorted mask of anguish in this powerful print, one of a series exploring intense grief. Her features are fractured and reassembled, characteristic of the cubist style, yet they convey a raw, immediate emotion. Created in 1937, this work directly follows the artist's monumental anti-war painting Guernica, continuing his exploration of the horrors of conflict and human suffering. The artist drew inspiration from both contemporary events and historical religious imagery, notably modernizing the traditional theme of the Virgin Mary mourning her son. The sheer size of this etching, the largest plate he had attempted up to that point, and the seven different states he produced, underscore the profound significance he placed on capturing this image of sorrow.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
The two eyes sit at different heights, each a pale bulb ringed with spiky lashes. They stare out of a face that has been broken into flat, angular planes.
Look at the open mouth, where jagged teeth and a tongue are drawn with hard, angular lines. The cry feels almost bitten into the face.
Two long, straight, rod-like lines run down from the cheek toward the chin. They may stand for tears, but they look hard and sharp, almost like blades.
On the right, a crosshatched cloth hangs from the face like a veil. Its dense mesh of lines makes a small gesture of mourning feel heavy and enclosing.
At the bottom left, a hand with long, stiff fingers presses against the chest. The awkward gesture echoes the distress in the face above.
The full narration walks you through Weeping Woman I — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Pablo Picasso, the Spanish painter who co-founded Cubism, revolutionized 20th-century art with a career spanning over 76 years.
The Old Guitarist
1903 · Art Institute of Chicago
Woman with a Helmet of Hair
1904 · Art Institute of Chicago
Half-Length Female Nude
1906 · Art Institute of Chicago
Nude with a Pitcher
1906 · Art Institute of Chicago
Daniel-Henry Kahnweiler
1910 · Art Institute of Chicago
Man with a Pipe
1915 · Art Institute of Chicago
Abstraction: Background with Blue Cloudy Sky
1930 · Art Institute of Chicago
The Red Armchair
1931 · Art Institute of Chicago
Olive Trees
van Gogh · 1853 · The Metropolitan Museum of Art
Gustave Boyer (b. 1840) in a Straw Hat
Cézanne · 1870 · The Metropolitan Museum of Art
The Seine at Pont de Grenelle
Gauguin · 1875 · Wallraf–Richartz Museum
Albert (René) Grenier (1858–1925)
de Toulouse-Lautrec · 1887 · The Metropolitan Museum of Art
Beyond Picasso and Post-Impressionism: works from the same years, and from the other movements Weeping Woman I belongs to.
Same movement · Surrealism
Untitled (Desert Landscape)
Salvador Dalí · 1934 · Art Institute of Chicago
Same era · 1920s–1950s
Deux personnages
Pierre Alechinsky · 1950
Same movement · Surrealism
The Eye
René Magritte · 1932 · Art Institute of Chicago
Same era · 1920s–1950s
Divided and Divided
Ivan Puni · 1941 · Art Institute of Chicago
Same movement · Surrealism
Dada Gauguin
Max Ernst · 1920 · Art Institute of Chicago
Same era · 1920s–1950s
Nighthawks
Okada Saburosuke · 1942 · Art Institute of Chicago
Same movement · Cubism
Figure with Meat
Francis Bacon · 1954 · Art Institute of Chicago
Same era · 1920s–1950s
The Indestructibles
Philip Evergood · 1946 · Art Institute of Chicago
Same movement · Surrealism
Death in the Garden (Legend)
Paul Klee · 1919 · Art Institute of Chicago
Same era · 1920s–1950s
Straße mit Passanten bei Nachtbeleuchtung
Ernst Ludwig Kirchner · 1927 · Museum Frieder Burda
Same movement · Cubism
Antwerp
Georges Braque · 1906 · Art Institute of Chicago
Same era · 1920s–1950s
Inventions of the Monsters
Salvador Dalí · 1937 · Art Institute of Chicago
Same era · 1920s–1950s
On the Threshold of Liberty
René Magritte · 1937 · Art Institute of Chicago
Same era · 1920s–1950s
Women Harvesting
Paul Klee · 1937 · Art Institute of Chicago
Same era · 1920s–1950s
White Crucifixion
Marc Chagall · 1938 · Art Institute of Chicago
Same era · 1920s–1950s
Woman at an Easel (Green Screen)
Georges Braque · 1936 · Art Institute of Chicago
Same era · 1920s–1950s
Composition (No. 1) Gray-Red
Piet Mondrian · 1935 · Art Institute of Chicago
Same era · 1920s–1950s
Garden Airplane-Trap
Max Ernst · 1935 · Art Institute of Chicago