Picasso's other self-portraits of 1901 could scarcely be more of a contrast to Self Portrait. One of the most emotionally intense of these works is the self-portrait produced in on expressionist manner, reminiscent of the Norwegian painter Edvard Munch. The surface of this work is sketchy with rapidly applied brushstrokes. Other areas, particularly in the lower right, have hardly been painted at all. This might suggest that the work is incomplete. However, Picasso has added his signature, confirming that he regarded the work as finished. Here, all the emphasis is on Picasso's face as it emerges from a gloom-laden background. The light falls directly upon his features, flattening all the contours and emphasizing his large, staring eyes, which confront the spectator directly. This gaze seems manic, almost possessed, as if the artist is in the thrall of some spiritual power or hallucinatory state. Here Picasso has underplayed the technical skills of the artist, suggesting that his talent lies more in the power of his gaze, in his status as a visionary,