1937 Nature morte au pichet Pablo Picasso (1881-1973) Period of creation: 1931-1942

The composition presents a still life arrangement set against a backdrop suggesting a window or opening onto a diffuse light source. A dark red pitcher dominates the right side of the canvas, its form simplified and somewhat abstracted, with a circular element interrupting its surface. The pitcher’s spout directs attention towards a silver-colored fruit stand laden with an assortment of citrus fruits – oranges, lemons, and what appear to be limes – alongside a cluster of grapes.
The table upon which these objects rest is rendered in a fragmented manner, utilizing bold geometric shapes – primarily blues, reds, and blacks – to create a sense of spatial distortion. These angular planes disrupt the conventional perspective, contributing to an overall feeling of instability and visual complexity. The background’s pale blue hue contrasts sharply with the darker tones of the foreground elements, further emphasizing their separation from the implied space beyond.
The artists use of color is notable for its deliberate lack of naturalism. While recognizable as fruits and a pitcher, these objects are presented in hues that deviate from reality, suggesting an interest in formal qualities over representational accuracy. The limited palette – primarily reds, blues, greens, and silver – creates a sense of visual unity while simultaneously contributing to the painting’s somewhat melancholic atmosphere.
Subtly, there is a tension between the abundance represented by the fruit and the starkness of the geometric forms. This juxtaposition might be interpreted as an exploration of themes related to decay, transience, or the fragility of beauty. The fragmented table surface could symbolize disruption or fragmentation – perhaps reflecting broader societal anxieties prevalent during the period in which it was created. The simplified shapes and flattened perspective suggest a deliberate move away from traditional illusionism, hinting at a desire to explore the inherent qualities of paint and form rather than merely depicting a recognizable scene.