1914 Pipe, verre et paquet de tabac Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a still life arranged on what appears to be a table surface. The dominant color scheme revolves around muted browns and ochres, punctuated by areas of grey and white. A central element is a cylindrical form, rendered in stark white with subtle shading suggesting volume and curvature. It sits upon a darker plane that extends diagonally across the canvas.
To the left of this central object, a dark pipe rests alongside what seems to be a small package – likely tobacco – indicated by its rectangular shape and dark coloration. The objects are not depicted realistically; instead, they are fragmented and reassembled in an unconventional manner. A series of parallel lines runs vertically along the right side of the composition, creating a sense of depth or suggesting architectural elements.
The artist employed a technique that involves layering and overlapping planes, characteristic of a fractured perspective. This approach dismantles traditional notions of spatial representation, presenting multiple viewpoints simultaneously. The use of collage – evident in the distinct textures and edges of the applied paper – adds another layer to this deconstruction.
Beyond the literal depiction of objects, the painting seems to explore themes of fragmentation and perception. The disjointed arrangement challenges the viewers ability to construct a unified narrative or understand the scene as a whole. This disruption could be interpreted as reflecting a broader sense of instability or uncertainty – a feeling perhaps amplified by the historical context in which such works were often created. The inclusion of currency, subtly positioned near the right edge, introduces an element of material value and potentially alludes to themes of commerce or societal structures, though these are presented within the same fractured visual language as the other elements. Ultimately, the work invites contemplation on how we construct meaning from fragmented information and the nature of representation itself.