1945 Pichet et bougeoir 2 Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a still life arrangement rendered in a fractured and fragmented style. Here we observe a grouping of objects – a pitcher, a candlestick, a fruit (likely an apple or pear), and what appears to be a table surface – all deconstructed into geometric planes and angular forms. The palette is predominantly muted; browns, grays, blacks, and ochres dominate, with occasional touches of beige and white providing contrast.
The artist has eschewed traditional perspective and spatial depth. Objects are not depicted as occupying distinct locations in space but rather appear to overlap and intersect, creating a flattened effect. The pitcher, positioned on the left side, is constructed from interlocking shapes that suggest both its rounded form and an underlying structural complexity. Similarly, the candlestick, situated on the right, is similarly broken down into facets, with the flame rendered as a sharp, angular shape.
The table surface itself is not presented as a continuous plane but rather as a series of overlapping planes, further contributing to the sense of spatial ambiguity. The fruit, located near the lower left corner, offers a slightly more organic form amidst the geometric rigor, although it too is subject to the artist’s analytical approach.
The overall effect is one of intellectual dissection and reassembly. It suggests an attempt to analyze the essential forms that constitute these everyday objects, reducing them to their most basic components. The subdued color scheme reinforces a sense of introspection and perhaps even melancholy, hinting at a period marked by loss or reflection. Theres a deliberate avoidance of sentimentality; instead, the artist seems interested in exploring the formal qualities of shape, line, and plane, prioritizing structure over representation.
Subtly, one might interpret this arrangement as an allegory for fragmentation – a visual metaphor for a world shattered and reconfigured. The disjointed forms could symbolize disrupted order or the psychological impact of trauma. While devoid of overt narrative content, the painting evokes a sense of quiet contemplation and invites viewers to engage in their own process of reconstruction and interpretation.