1919 Nature morte sur un guВridon (La table) Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a still life arranged on what appears to be a makeshift wooden table or platform. The artist has fragmented and reassembled recognizable objects – a guitar, sheet music, and various geometric forms – into a complex visual puzzle. These elements are not depicted in a traditional, representational manner; instead, they are broken down into facets of color and plane, viewed from multiple perspectives simultaneously.
The palette is restrained, dominated by muted blues, grays, browns, and touches of purple and ochre. This limited range contributes to the painting’s somber mood and reinforces a sense of intellectual detachment rather than emotional exuberance. The colors are applied in flat planes, with minimal shading or modeling, further emphasizing the two-dimensional nature of the work.
The guitar, positioned centrally at the top, is rendered as an assemblage of angular shapes, its form barely discernible beneath the fractured surface. Sheet music leans against it, inscribed with what appears to be text – likely a reference to a musical piece or perhaps a personal inscription. The table itself is constructed from overlapping planes and angles, creating a sense of instability and visual ambiguity.
Below the guitar, a cluster of forms suggests a draped cloth or other soft object, rendered in similar fragmented style. This area introduces a subtle contrast in texture, though it remains consistent with the overall geometric vocabulary. A small, circular form sits on the table’s surface, acting as a focal point and adding to the sense of deliberate arrangement.
The background is divided into distinct zones – a pale green section at the top right and a darker, textured area along the left edge. These areas do not offer depth or perspective but rather serve as contrasting planes that further isolate the still life from any implied environment.
Subtly, the work seems to explore themes of perception and representation. The artist challenges conventional notions of how objects are seen and understood, suggesting that reality is multifaceted and can be interpreted in multiple ways. The fragmented forms might also allude to a sense of disruption or loss – a feeling perhaps reflective of the historical context from which it emerged. The deliberate deconstruction of familiar objects invites contemplation on the nature of artistic creation and the limitations of visual language.