1937 Nature morte 3 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, sharply delineated by geometric planes and fractured perspectives. The artist has eschewed traditional depth cues, opting instead for a flattened pictorial space where objects are simultaneously presented from multiple viewpoints.
A cluster of fruit – primarily lemons and possibly other citrus varieties – occupies the lower left quadrant. These forms are rendered with angularity and simplified shapes, their surfaces broken down into planes of color that shift between yellow, green, and white. They rest on a roughly triangular platform, also constructed from intersecting geometric blocks.
To the right of the fruit, a glass vessel is depicted, its transparency suggested through subtle gradations in tone rather than realistic rendering. Behind it, an ornate object – perhaps a teapot or decorative container – is positioned. This element exhibits a complex interplay of curves and angles, with a color palette dominated by pinks, oranges, and yellows. The form seems to twist and fold upon itself, further contributing to the overall sense of spatial ambiguity.
The background is equally fragmented, composed of large blocks of gray, blue, and black. These planes do not function as a conventional backdrop but rather contribute to the deconstruction of space, creating an environment that feels both contained and limitless. A dark vertical element on the right side could be interpreted as a window or architectural feature, though its precise nature remains unclear due to the painting’s fractured perspective.
The works subtexts revolve around the dismantling of traditional representation. The artist seems less interested in depicting objects realistically than in exploring their underlying geometric structures and the possibilities of visual fragmentation. This approach suggests an interrogation of perception itself – a questioning of how we construct meaning from observed forms. The limited color palette, while not monochromatic, reinforces a sense of austerity and intellectual rigor. The overall effect is one of controlled chaos, where recognizable objects are subjected to a process of analytical reduction, inviting the viewer to actively participate in reconstructing their visual reality.