1920 Compotier et mandoline Pablo Picasso (1881-1973) Period of creation: 1919-1930

The drawing presents a still life composition rendered in charcoal on paper. Here we observe a fragmented arrangement of objects, seemingly arranged upon a table or surface that is itself suggested through angular planes and tonal shifts. The artist has broken down recognizable forms into geometric components – triangles, rectangles, and trapezoids – which are then reassembled to create an illusion of depth and volume.
The central focus appears to be a bowl, its contours defined by intersecting lines and varying degrees of shading. Adjacent to it is what seems to be the neck and body of a stringed instrument, characterized by parallel lines that suggest the sound holes and bracing within. These elements are not depicted realistically; instead, they are abstracted and presented from multiple viewpoints simultaneously.
The tonal range is limited, relying primarily on contrasts between dark blacks and lighter grays to define form and create spatial relationships. The artist uses a loose, gestural application of charcoal, allowing for visible marks and textures that contribute to the drawing’s overall dynamism. A sense of instability pervades the composition; objects seem to tilt and shift, defying conventional perspective.
The limited palette and fragmented forms suggest an interest in exploring the underlying structure of observed reality rather than its surface appearance. The arrangement feels deliberate, yet resists easy interpretation. It is possible to read this as a meditation on perception itself – how we construct meaning from visual information and how that process can be disrupted or reconfigured.
The handwritten inscription at the bottom left corner provides a date (17-2-20), anchoring the work within a specific timeframe and hinting at a practice of ongoing observation and experimentation. The drawing’s overall effect is one of intellectual rigor combined with an expressive, almost improvisational approach to mark-making.