1936 Nature morte au citron et aux oranges Pablo Picasso (1881-1973) Period of creation: 1931-1942

The composition presents a still life arrangement rendered in a fractured and fragmented style. Here we observe a table surface dominating the lower portion of the canvas, its form delineated through overlapping planes of ochre, brown, and cream tones. A draped cloth covers this surface, its folds sharply defined by contrasting light and shadow, contributing to a sense of depth despite the overall flattening effect of the artistic approach.
Arranged upon the table are several objects: a glass vessel, partially visible on the left side; a lemon, positioned centrally and rendered in shades of yellow-green with subtle purple undertones; and oranges, depicted as sliced segments revealing their inner flesh. A dark, elongated form, likely a bottle or carafe, rises from the right side of the composition. Its surface is segmented into angular planes of green, black, and grey, punctuated by a small, rectangular shape affixed to its side – a label perhaps, or an abstract decorative element.
The artist’s technique involves dismantling recognizable forms into geometric components, presenting multiple viewpoints simultaneously. This approach eschews traditional perspective in favor of a conceptual representation of the objects. The color palette is restrained, primarily utilizing earth tones and muted greens with occasional bursts of orange to highlight specific areas.
Subtly embedded within this formal structure are suggestions of abundance and domesticity – the presence of fruit evokes notions of harvest and sustenance. However, the deconstruction of these familiar elements introduces a sense of alienation or detachment. The sharp angles and fractured planes disrupt any feeling of comfort or familiarity, suggesting a questioning of perception and representation itself. The label on the bottle could be interpreted as a commentary on commodification or branding, subtly disrupting the naturalistic subject matter with an industrial element. Ultimately, the work seems to explore the relationship between observation, memory, and artistic construction, inviting contemplation about how we perceive and interpret the world around us.