pestel still life 1917-18 Pestel

The composition presents a fragmented arrangement of geometric forms and planes, devoid of recognizable representational elements. The artist has constructed a visual field through intersecting lines, angular shapes, and blocks of color that seem to exist independently yet interact within the overall structure. A dominant palette of ochre, red, black, white, and blue contributes to a sense of tension and complexity.
The background appears as a textured surface, rendered in muted earth tones – primarily browns and grays – that suggest a wall or backdrop. This area is not uniformly treated; instead, it exhibits brushstrokes that create a palpable sense of depth and unevenness. Overlapping this foundation are sharply defined planes of color. A large orange form occupies the right side of the canvas, its edges softened by visible brushwork, hinting at an underlying organic quality despite its geometric presentation.
A dark, almost black shape cuts diagonally across the composition, creating a strong visual division and contributing to the overall sense of dynamism. Adjacent to this is a white plane, intersected by a red triangular form that introduces a note of vibrancy and further complicates the spatial relationships. A smaller blue rectangle appears nestled within these shapes, providing a contrasting cool tone amidst the warmer hues.
The artist’s handling of paint is significant; thick impasto is evident in certain areas, particularly on the orange plane, while other sections are rendered with smoother, more blended applications. This variation in texture adds another layer to the visual experience and reinforces the sense that the work is not intended as a straightforward depiction but rather an exploration of form, color, and spatial relationships.
The absence of traditional perspective or depth cues contributes to a flattened effect, emphasizing the two-dimensionality of the canvas. The arrangement feels deliberately arbitrary, suggesting a rejection of conventional pictorial logic in favor of a more abstract visual language. Subtly, one might interpret this as an attempt to deconstruct and reassemble reality into its fundamental components – a process that reflects a broader artistic impulse toward abstraction prevalent during the period.