1923 Verre1 Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a fragmented still life arranged within a shallow pictorial space. A central, abstracted form dominates the view; it appears as a vessel or container constructed from intersecting planes and angular shapes. The artist employed a limited palette of muted colors: predominantly white, pale blue, brown, and grey, with subtle variations in tone to suggest depth and volume.
The background is rendered in a flat, almost monochromatic grey, which serves to isolate the central object and emphasize its geometric structure. A textured surface, resembling sand or rough plaster, covers the upper portion of the background, creating a visual contrast with the smoother planes of the primary form. This textural element introduces an ambiguity – it could be interpreted as a wall, a landscape, or simply a decorative device.
The central object is dissected into several facets, each painted in a slightly different hue to suggest its three-dimensionality. A circular shape is affixed to one side of this form, disrupting the otherwise angular composition and introducing a note of organic irregularity. Parallel lines are drawn on the lower portion of the vessel, further complicating its structure and hinting at an underlying grid or system of measurement.
The base upon which the object rests is depicted as a dark brown plane, extending across the lower third of the canvas. It’s rendered with vertical striations that suggest wood grain or a similar material texture. These lines contribute to the overall sense of fragmentation and deconstruction characteristic of the work.
Subtly, theres an impression of architectural elements – walls, windows, perhaps even a suggestion of interior space – though these are abstracted beyond immediate recognition. The arrangement feels deliberate, almost as if the artist is exploring the relationship between form, volume, and perception. The limited color range and geometric simplification suggest a focus on underlying structures rather than representational accuracy. It’s possible to interpret this work as an investigation into the nature of seeing itself – how we construct meaning from fragmented visual information.