1923 Pomme et verre devant une fenИtre Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a fragmented still life set against a backdrop suggesting a window view. A predominantly green field dominates the canvas, punctuated by angular forms and abrupt shifts in color. The artist employed a limited palette – greens, yellows, blues, reds, and whites – applied with visible brushstrokes that contribute to a sense of immediacy and textural complexity.
In the foreground, a yellow arc serves as a foundational element, curving upwards and providing a visual anchor for the other objects. A circular form, rendered in red with a central black dot, is positioned slightly left of center. Its placement introduces a focal point that draws the eye while simultaneously disrupting the overall harmony through its intense color.
To the right, a large, white shape – resembling an abstracted fruit or vessel – occupies a significant portion of the canvas. It’s constructed from intersecting planes and sharp angles, denying any easy recognition as a conventional object. The artist has broken down recognizable forms into geometric components, characteristic of a style that prioritizes conceptual representation over mimetic accuracy.
Behind these elements, a rectangular opening suggests a window. Through this aperture, a patch of blue is visible, hinting at an outdoor scene beyond the immediate space. This glimpse of exteriority contrasts with the enclosed and somewhat claustrophobic feeling generated by the foreground objects. The window itself isnt depicted realistically; it’s reduced to a stark black outline, further emphasizing its role as a compositional device rather than a literal representation.
The subtexts within this work revolve around themes of perception, fragmentation, and the deconstruction of reality. The disjointed arrangement of forms suggests a world perceived through a fractured lens, where objects are not seen in their entirety but rather as collections of geometric components. The limited color palette contributes to a sense of emotional restraint, while the abrupt transitions between planes create visual tension. It’s possible to interpret this work as an exploration of how we construct meaning from fragmented sensory information and how artistic representation can challenge conventional notions of perspective and objectivity. The deliberate ambiguity of the objects invites viewers to engage in their own process of interpretation, actively participating in the creation of meaning.