1921 Composition avec verre Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a fragmented view of still life elements arranged within a structured geometric framework. A central rectangular area dominates the visual field, its surface textured with a granular application of ochre and beige tones. Within this space, a glass vessel is suggested through simplified forms – a curved outline defining the rim, and planes indicating its interior volume. The transparency implied by the glass is rendered not through realistic depiction but through contrasting areas of white and dark pigment, creating an illusion of depth and reflection.
Flanking this central zone are vertical bands of varying widths and colors: black, brown, and grey. These act as both delimiters and structural components, contributing to a sense of compartmentalization and controlled arrangement. The edges of these bands are not sharply defined; instead, they blend subtly with the surrounding areas, softening the overall rigidity of the design.
The background is entirely dark, an expanse of black that serves to isolate the central composition and intensify its visual impact. This stark contrast further emphasizes the geometric precision of the foreground elements.
Subtly embedded within the granular texture of the central area are hints of what might be interpreted as a table surface or a supporting plane. These suggestions are not explicitly defined, but rather emerge from the interplay of light and shadow within the textured paint application. The overall effect is one of deconstruction – familiar objects are broken down into their constituent forms and reassembled in a non-naturalistic manner.
The work seems to explore the relationship between perception and representation, questioning the viewer’s ability to recognize conventional still life imagery. It suggests an interest not in replicating reality but in analyzing its underlying structure and formal qualities. The deliberate flattening of perspective and the emphasis on geometric abstraction point towards a move away from traditional representational modes toward a more conceptual approach to artistic creation.