It was completed in the autumn of 1910 and depicts the prominent art dealer Daniel-Henry Kahnweiler, who played an important role in supporting Cubism.

[2] He played an important role in the development of Cubism by representing Picasso as his art dealer, but also by introducing him to Georges Braque.

However, Kahnweiler was stunned and intrigued by Picasso's Les Demoiselles d’Avignon and recognised that traditional painting techniques were being overthrown by a new art movement.

However, rather than portraying Kahnweiler in a realistic way, Picasso created a fractured image by breaking down the forms into planes and faceted shapes and then merging them together.

[3] The combination of Kahnweiler's wavy hair, eyes, brow and chin aid the viewer in building a visual impression of his head, but this image drifts in and out of focus.

[7] Museu Picasso comments that, "Kahnweiler’s punctilious time-keeping and legendary patience are epitomised by the eye-catching sign for the watch-chain straddling the waistcoat of his immaculate dark suit and the prominence given to his neatly clasped hands resting in his lap.

Picasso had been skilled in his abilities to create realistic representations of models since his youth, yet chose to convey Kahnweiler in this experimental style.

"[10]"Revolutionary and discomforting, this masterpiece is part of a comprehensive dismantling of traditional portraiture that started when Picasso painted Gertrude Stein in 1905 to 1906 and gave her a stone mask for a face.