A 1901 oil painting by Pablo Picasso depicting a mother and child seated behind a large bouquet of yellow flowers. This early work shows the influence of Post-Impressionism through its bold colours and thick brushwork.

Pablo Picasso painted this work in 1901 during his first year in Paris. It belongs to a period where he experimented with the techniques of Post-Impressionist artists such as Van Gogh and Gauguin. The composition features a seated woman holding a young child in a bright red garment. A large arrangement of yellow flowers occupies the foreground, placed on a pale table that curves into the lower right corner. The application of paint is thick and textured. Picasso used short, visible brushstrokes to build the forms of the figures and the floral arrangement. The colour scheme relies on primary contrasts. The child's red dress sits against the mother's pale green blouse and the deep blue of her skirt. The background consists of dark, atmospheric tones that suggest an interior setting. The bouquet consists of yellow blossoms, possibly marigolds or chrysanthemums, which are rendered with heavy impasto. These flowers dominate the right side of the canvas, creating a sense of physical presence in the room. The table surface is painted in light, neutral tones, providing a visual break from the saturated colours of the figures. In the background, a framed picture or a window is visible, though its details remain obscured by the dark paint. The mother's posture is protective, with her arms wrapped around the child. Her expression is neutral, almost detached, which contrasts with the bright, cheerful colours of the child's clothing. This emotional ambiguity is a characteristic of Picasso's work from this era. The child looks toward the viewer with large, dark eyes, providing the only direct engagement with the audience. This painting was created shortly before Picasso transitioned into his Blue Period. It shows his early interest in maternal subjects, a theme he revisited throughout his career. The figures have simplified facial features, with the mother's face appearing almost mask-like. This simplification indicates his move away from academic realism toward a more expressive style. The heavy outlines around the figures and the flowers provide structure to the otherwise loose brushwork.