1922 Verre, bouteille, poisson sur un journal Pablo Picasso (1881-1973) Period of creation: 1919-1930

The composition presents a still life rendered in a fractured and fragmented style. A table surface, delineated by a reddish-brown hue, dominates the lower portion of the canvas. Upon this plane rest several objects, their forms deconstructed into geometric planes and angular shapes. A glass vessel, seemingly a bottle, is positioned centrally, its transparency suggested through pale blue washes layered over a lighter base. Adjacent to it lies what appears to be a fish, abstracted into a dark, irregular form with subtle indications of scale patterns etched within.
The arrangement is further complicated by the presence of a newspaper or sheet of paper, visible beneath the objects and contributing to the overall sense of disarray. The background is defined by a muted blue-green color field, which appears to press in on the still life, flattening the spatial depth. A vertical element, possibly another vessel or architectural fragment, rises from behind the central grouping, further disrupting any conventional perspective.
The artist’s use of color is restrained, relying primarily on earth tones and cool blues. The limited palette contributes to a sense of melancholy and introspection. The deliberate distortion of form suggests an interest in exploring the underlying structure of objects rather than their superficial appearance.
Subtly, theres a feeling of confinement or entrapment conveyed by the compressed space and the overlapping planes. The fragmented nature of the forms could be interpreted as reflecting a sense of disruption or instability, perhaps mirroring anxieties prevalent during the period in which it was created. The inclusion of the newspaper hints at the intrusion of external events into the domestic sphere, suggesting a commentary on the relationship between personal experience and broader societal forces. Ultimately, the work resists easy interpretation, inviting viewers to engage with its ambiguities and contemplate the nature of perception itself.