1936 Nature morte Е la lampe Pablo Picasso (1881-1973) Period of creation: 1931-1942

The composition presents a still life arranged on what appears to be a table or ledge. The objects depicted are fragmented and reassembled in a manner that defies conventional perspective. A lamp, centrally positioned, dominates the scene; its form is abstracted into geometric shapes – a cylindrical base, an angled shade, and a bulb rendered as a simple sphere.
To the left of the lamp, a collection of vessels or containers are visible. Their forms are similarly broken down into planes, with overlapping sections suggesting multiple viewpoints simultaneously. A blue-grey hue permeates these objects, contrasting slightly with the warmer tones used for other elements. To the right of the lamp, what might be interpreted as fruit – perhaps lemons or oranges – are clustered together, their rounded shapes providing a visual counterpoint to the angularity elsewhere in the composition.
The background is constructed from large, flat planes of color – predominantly grey and white – that create an ambiguous sense of space. These planes do not function as traditional walls or backdrops but rather contribute to the overall fractured aesthetic. A rectangular shape, painted a muted blue, appears near the upper left corner, further disrupting any illusion of depth.
A numerical inscription 29 is visible in the upper right quadrant, rendered in a stark, almost utilitarian font. This element introduces an unexpected layer of meaning – perhaps a reference to a date, a catalogue number, or simply a formal compositional device. The signature, located beneath the numeral, reinforces this sense of deliberate construction and intellectual engagement with the subject matter.
The painting’s subtexts revolve around themes of perception, representation, and the nature of reality itself. By dismantling recognizable forms and presenting them in a non-illusionistic manner, the artist challenges the viewers expectations about how objects should be seen and understood. The fragmented composition suggests a world perceived through multiple perspectives simultaneously, questioning the stability of singular viewpoints. The inclusion of the numerical inscription hints at an underlying system or logic governing the arrangement of forms – a deliberate attempt to impose order on what might otherwise appear chaotic. Ultimately, the work invites contemplation about the process of seeing and the limitations of representation.