1915 Instruments et bol de fruits devant une fenИtre avec un avion Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a fragmented still life arranged before a window, with a distinct aerial element incorporated into the scene. The artist has deconstructed recognizable forms, presenting them as geometric planes and intersecting lines. A bowl, rendered in pale whites and greens, occupies the upper left quadrant, its shape simplified to an arc-like form. Below it, a collection of musical instruments – seemingly a trumpet or similar brass instrument – is meticulously broken down into facets. These are not depicted realistically; instead, their surfaces reflect light in ways that suggest multiple perspectives simultaneously.
A bowl of fruit, partially obscured by the instruments, lies beneath them. The colors here shift to warmer tones – yellows and browns – creating a visual contrast with the cooler hues above. A sheet of paper or fabric is draped across the lower portion of the arrangement, its folds and creases delineated with careful shading that emphasizes its texture.
Through the window, visible in the background, an airplane appears as a simplified shape – a dark form against a lighter sky. This inclusion introduces a significant layer of subtext. The presence of this machine suggests a shift in perspective, hinting at modernity, technological advancement, and perhaps even the anxieties associated with these developments.
The color palette is restrained, primarily utilizing muted earth tones – ochres, browns, greens, and whites – with occasional accents of darker shades to define shadows and contours. This limited range contributes to a sense of quiet contemplation. The overall effect is one of intellectual analysis rather than emotional expression; the artist seems more interested in exploring the formal qualities of representation than conveying a narrative or sentiment.
The arrangement feels deliberately staged, as if the objects have been carefully positioned to create a complex interplay of shapes and lines. This suggests an exploration of perception itself – how we construct meaning from visual information, and how that process can be disrupted or reconfigured. The work invites viewers to actively participate in piecing together the fragmented elements into a coherent whole, thereby engaging with the artist’s conceptual framework.