1918 Verre Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a fragmented arrangement of geometric forms within a defined rectangular border. The background is rendered in muted ochre tones, exhibiting visible brushstrokes that suggest a textured surface and a deliberate lack of smooth blending. A darker brown frame outlines the central area, creating a visual separation between the background and the more complex assemblage contained within.
Within this framed space, several shapes dominate: angular planes, a circular form, and a section featuring parallel lines. The color palette is restrained, primarily utilizing variations of beige, black, blue, and brown. A prominent dark black shape occupies the upper left quadrant, intersecting with a lighter beige plane that angles downwards towards the lower right corner. This beige plane is partially obscured by a triangular area in blue, which introduces a cooler tone into the overall composition.
A circular form, rendered in white, appears centrally within the darker black shape, creating a focal point and introducing an element of visual contrast. To the left, a section with closely spaced parallel lines adds another layer of complexity to the arrangement. These lines are dark blue and create a sense of depth or recession.
The painting’s structure suggests a deconstruction of perspective and form. The shapes do not appear to represent recognizable objects; instead, they function as abstract elements arranged in relation to one another. There is an absence of traditional spatial cues, contributing to a flattened effect. The deliberate fragmentation and the lack of clear narrative suggest a focus on the formal qualities of shape, color, and line rather than representation.
The overall impression is one of controlled chaos – a carefully orchestrated arrangement that simultaneously conveys order and disruption. The limited palette and geometric vocabulary evoke a sense of austerity and intellectual rigor. The work seems to explore the possibilities of visual language beyond mimetic representation, hinting at an investigation into the fundamental building blocks of perception.