1937 Nature morte au pichet1 Pablo Picasso (1881-1973) Period of creation: 1931-1942

The composition presents a still life arranged on a table surface that is sharply angled and divided into distinct planes of color – predominantly red and blue. A fruit bowl, supported by a slender pedestal, occupies the left side of the canvas. Within it are various fruits: oranges, lemons, and what appear to be green apples or pears, rendered in simplified forms with limited shading. The arrangement feels somewhat crowded, lacking a sense of natural distribution.
To the right stands a pitcher, its form deconstructed into geometric shapes. Its color is a deep purple-blue, punctuated by a circular motif on its body. The pitcher’s spout and handle are elongated and angular, contributing to the overall fractured aesthetic.
Behind these objects, a wall or backdrop is suggested through blocks of blue and grey, intersected by vertical lines that mimic architectural elements – perhaps window frames or partitions. These lines create a sense of enclosure while also disrupting any illusion of depth. The starkness of the background emphasizes the foreground elements.
The artist’s use of color is notable; the palette is restricted to blues, reds, yellows, and greens, creating a visual tension between warmth and coolness. Theres an absence of subtle gradations or blending, which reinforces the fragmented nature of the scene. The forms are not rendered realistically but rather as simplified representations, emphasizing shape and volume over texture or detail.
Subtly, the work seems to explore themes of perception and representation. The fractured forms and flattened planes challenge conventional notions of perspective and spatial relationships. It is possible to interpret this arrangement as a commentary on the instability of reality, or perhaps an exploration of how objects are perceived through multiple viewpoints simultaneously. The deliberate distortion and simplification suggest a move away from mimetic representation towards a more conceptual approach. The limited color palette contributes to a sense of austerity and introspection, inviting contemplation rather than immediate visual pleasure.