1919 Nature morte devant une fenИtre1 Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a still life arranged before a window, rendered in a fractured and fragmented style. The scene is divided into distinct planes, creating a sense of spatial ambiguity and challenging traditional perspective. A rectangular window frame dominates the upper portion of the canvas, revealing a patch of blue sky with subtle indications of clouds. This backdrop provides a limited glimpse of an exterior world, contrasting sharply with the interior arrangement.
Within the foreground, several objects are deconstructed and reassembled in an unconventional manner. A guitar is prominently displayed, its form broken down into geometric shapes and viewed from multiple angles simultaneously. Adjacent to it lies a sheet of paper, seemingly suspended in space, adding a layer of intellectual or artistic reference. The presence of musical notation on the paper suggests themes of creativity, performance, or perhaps even the disintegration of established systems.
Below this upper arrangement, another grouping of objects is presented, further complicating the spatial relationships. These forms appear more architectural than organic, resembling abstracted building blocks or fragments of a constructed environment. A circular element punctuates this lower section, drawing the eye and contributing to the overall sense of visual disruption.
The color palette is restrained, primarily utilizing muted tones of gray, beige, brown, and blue. This limited range reinforces the painting’s intellectual nature and avoids any overt emotional appeal. The brushwork appears loose and gestural, further emphasizing the fragmented quality of the composition.
Subtly, the work seems to explore themes of perception and representation. By dismantling familiar objects and presenting them in a non-naturalistic way, the artist invites viewers to question their assumptions about reality and the act of seeing itself. The window acts as a symbolic barrier between interior and exterior, suggesting a separation from the world or perhaps an attempt to analyze it through a fractured lens. Ultimately, the painting conveys a sense of intellectual inquiry and formal experimentation, prioritizing conceptual exploration over mimetic representation.