Derain, André – Table and chairs Hermitage ~ part 04

The composition presents a still life arrangement centered around a table surface, partially obscured by a draped cloth. A prominent ceramic vessel dominates the view, its form elongated and tapering upwards, positioned slightly off-center. Adjacent to it sits a glass goblet containing several dark red fruits – likely cherries or plums – which provide a focal point of color within the otherwise muted palette. Another slender glass is visible behind the goblet, partially concealed by the draped fabric.
The table itself appears to be covered with a patterned cloth, rendered in shades of green and brown, creating an undulating surface that disrupts any sense of spatial clarity. The edges of the table extend beyond the immediate arrangement, suggesting a larger setting. A portion of what seems to be a chair is visible on the right side of the canvas, its back formed by vertical lines that echo the structural elements within the still life. To the left, a section of a wall or backdrop is painted in a deep reddish-brown hue, contrasting with the cooler tones of the table and objects.
The artist’s handling of form emphasizes simplification and abstraction. Objects are not rendered realistically but rather as blocks of color and shape, their outlines often blurred or indistinct. The light source appears diffuse, casting soft shadows that flatten the forms and contribute to a sense of ambiguity in depth.
Subtly, theres an impression of domesticity – a moment captured within a private space. However, this familiarity is undermined by the deliberate distortion of perspective and the flattening of pictorial space. The arrangement feels staged rather than observed, suggesting a focus on formal elements over narrative content. The choice to depict commonplace objects – a table, chairs, glassware, fruit – elevates them to subjects worthy of artistic consideration, hinting at an interest in exploring the inherent beauty and structure within everyday life. The overall effect is one of quiet contemplation, inviting the viewer to engage with the arrangement not as a representation of reality but as a construct of form and color.