1918 Nature morte Е la guitare Pablo Picasso (1881-1973) Period of creation: 1908-1918

Here we see a composition dominated by fractured forms and a muted palette, suggesting a deliberate dismantling of traditional representation. The artist has chosen to depict what appears to be a guitar, though its recognizable features are fragmented and reassembled in an unconventional manner. Instead of presenting the instrument from a single viewpoint, it is rendered as a collection of planes and angles, seemingly viewed simultaneously from multiple perspectives.
The color scheme reinforces this sense of deconstruction. Earth tones – ochre, brown, grey – prevail, creating a somber and somewhat melancholic atmosphere. The limited range of hues contributes to the paintings overall flatness; there is little attempt at modeling or creating an illusion of depth through shading. This flattening effect emphasizes the two-dimensionality of the canvas itself, drawing attention to its surface as a space for purely visual arrangement rather than mimetic representation.
The composition is structured around a central vertical axis, which divides the painting into distinct zones. The left side is predominantly dark, while the right side features warmer tones and appears slightly more open. This division creates a subtle tension within the work, suggesting a duality or opposition that mirrors the fragmented nature of the depicted object.
The artist’s signature, placed in the upper right corner, is rendered with a similar simplicity and angularity as the rest of the composition, further integrating it into the overall aesthetic. The frame itself, ornate and gilded, provides a stark contrast to the austere quality of the painting within, highlighting the deliberate choice to reject conventional notions of beauty and representation.
The work seems less concerned with accurately portraying a guitar than with exploring the possibilities of visual language – how shapes, colors, and lines can be manipulated to create meaning beyond mere imitation. It invites contemplation on perception, fragmentation, and the nature of artistic representation itself.