1919 Nature morte sur une table devant une fenИtre ouverte Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a still life arranged on a tabletop positioned before an open window. The artist has employed a flattened perspective, reducing depth and emphasizing geometric forms. A table dominates the foreground, its surface rendered in ochre tones with a distinct rectangular shape. Below it, a decorative railing is visible, painted in dark hues that contrast with the lighter tabletop.
Upon the table rest several objects: a white vase, a piece of what appears to be sheet music or a similar flat document, and a long, slender object resembling a tool or instrument. These items are depicted with simplified shapes and minimal detail, contributing to the overall sense of abstraction. The arrangement feels deliberate yet somewhat arbitrary, lacking a clear narrative connection between the objects.
The window itself is a significant element. Its frame is painted in green, sharply contrasting with the surrounding colors. Through the open aperture, one observes a muted landscape – a wash of blue-grey suggesting distance and atmosphere. The curtains hanging from the window are rendered in white, their folds adding a touch of softness to the otherwise angular composition.
The color palette is restrained, primarily utilizing earth tones (ochre, brown) alongside green and blue. This limited range contributes to a sense of quietude and introspection. The stark contrast between the foreground objects and the background landscape creates a visual tension, drawing attention to both the immediate subject matter and the implied space beyond.
Subtly, the work seems to explore themes of interiority versus exteriority. The still life exists within an enclosed space, yet the open window offers a glimpse into something larger – a world that remains distant and somewhat undefined. This juxtaposition might suggest reflections on confinement, observation, or the relationship between the individual and their surroundings. The deliberate fragmentation of forms and perspectives further reinforces this sense of detachment and invites contemplation rather than straightforward representation.