What js a formal analysis of picasso's girl with a mandolin ? What are some points of view and some ideas to support the argument?

I would like to suggest that no analysis in the arts can
be "formal," as is the case in the natural sciences. Thus, I would like to recommend an
article, if this is still a timely response, called

"The
Painting of Pablo Picasso: A Psychoanalytic Study" in the College Art
Journal, Vol. 7, No. 2 (Winter, 1947-1948), pp. 81-95, written by Daniel E.
Schneider.

Without a vast knowledge of Picasso's work, some
of my own observations include the following:

This work of
art was one of Picasso's early cubist creations. The only aspects of this art piece that
are not cubes are the girl's eyes, hair, breast, and mandolin. This contrast is a kind
of mixture between carpe diem (sieze the moment) and limit-experience (moments of
ecstasy and trance in the philosophical sense) in which Picasso captures in a work of
art that has no movement but the movement that we create in our own understanding of
it.