1909 Nature morte au cuir Е rasoir Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a still life arrangement rendered in a fractured and fragmented style. Here we observe a collection of objects – a leather surface, a razor, and what appears to be fruit – deconstructed into geometric planes and presented from multiple viewpoints simultaneously. The artist has abandoned traditional perspective, instead opting for an analytical approach that dissects the forms and reassembles them on the canvas.
The color palette is restrained, dominated by earthy tones of brown, beige, and grey, with subtle hints of ochre and muted yellow. This limited range contributes to a sense of somberness and introspection. The application of paint appears deliberate, with visible brushstrokes that emphasize the textural qualities of the surfaces. Light plays an ambiguous role; it doesnt define forms in a conventional manner but rather illuminates different facets of the fragmented objects, further complicating their spatial relationships.
The arrangement feels deliberately unstable. Objects overlap and intersect, creating a sense of visual density and ambiguity. The razor, positioned prominently near the lower center, introduces a note of potential danger or sharpness that contrasts with the otherwise muted atmosphere. Its presence suggests themes of precision, utility, and perhaps even violence – though these are not explicitly stated but rather hinted at through its symbolic weight.
The leather surface, rendered in angular planes, seems to act as both a backdrop and an integral part of the composition. It provides a grounding element while simultaneously contributing to the overall sense of fragmentation. The fruit, partially obscured by other forms, appears almost abstract, reduced to essential shapes and colors.
Subtly, there’s a feeling of melancholy or quiet contemplation embedded within the work. The deconstruction of familiar objects challenges conventional notions of representation and invites viewers to engage with the subject matter in a more intellectual and analytical way. It is not merely a depiction of everyday items but rather an exploration of form, space, and perception itself. The overall effect is one of controlled chaos – a deliberate disruption of visual order that compels close observation and thoughtful consideration.