In Discussing Music at Celestine’s (Collation en musique chez la Celestine), Pablo Picasso stages an intimate yet animated gathering in which music, conversation, and the human figure converge. Created in 1968 as part of Series 347, the composition brings together a voluptuous central nude surrounded by a cast of musicians, observers, and masked or costumed figures, forming a dense theatrical scene charged with humor, sensuality, and psychological interplay.

Picasso’s line is fluid and incisive, moving effortlessly between caricature and classical reference. The central female figure—monumental, frontal, and unapologetically corporeal—anchors the composition, while the surrounding characters lean, gesture, and observe, creating a rhythmic exchange that echoes the theme of music itself. Instruments, facial expressions, and exaggerated profiles contribute to a sense of convivial disorder, underscoring Picasso’s fascination with performance, spectatorship, and desire in his late work.

Executed as an etching on wove paper, the work exemplifies Picasso’s late graphic style: spontaneous, erotically charged, and deeply referential. Art history, everyday life, and private fantasy coexist within a single frame, collapsing distinctions between high culture and lived experience. Hand signed and numbered from the edition of 50, Discussing Music at Celestine’s stands as a vivid expression of Picasso’s unrestrained inventiveness in his late years, reaffirming his ability to reinvent narrative and figuration with irreverence, wit, and technical mastery.