1944 Carafe et plant de tomate Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a still life arranged within a fragmented architectural space. A glass carafe and a tomato plant dominate the central field, rendered in a style characterized by geometric simplification and multiple perspectives. The artist employed a palette largely restricted to grayscale tones – whites, blacks, and various shades of gray – with accents of green and red for the foliage and fruit.
The carafe is not depicted realistically; instead, it’s broken down into planes that suggest its form through angularity rather than contour lines. It appears simultaneously from multiple viewpoints, creating a sense of spatial ambiguity. The tomato plant similarly lacks naturalistic representation. Its leaves are stylized as broad, flattened shapes, and the tomatoes themselves are simplified spheres punctuated with dark markings.
The background is constructed from intersecting planes that define what seems to be an interior space – perhaps a room or a windowed alcove. These planes do not converge on a single vanishing point; instead, they exist independently, contributing to the overall sense of fractured perspective and spatial disorientation. The interplay between light and shadow across these planes creates a visual rhythm that guides the viewers eye around the composition.
Beyond the purely formal elements, the work seems to explore themes of observation and representation. The deconstruction of familiar objects – a carafe and a plant – suggests an interest in analyzing their essential forms rather than simply depicting them realistically. This approach invites contemplation on how we perceive and understand the world through visual signs.
The limited color palette contributes to a somber, introspective mood. The stark contrast between light and dark areas amplifies the sense of fragmentation and isolation. While seemingly simple in subject matter, the painting’s construction conveys a complex interplay of form, space, and perception, hinting at underlying anxieties or reflections on the nature of reality itself.