1947 Nature morte au coq et au couteau Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a still life arrangement rendered in a fragmented and angular style. A table dominates the foreground, its surface delineated by stark lines and planes that suggest depth through abrupt shifts in perspective. The tabletop is not presented as a continuous plane but rather as a series of interlocking geometric forms.
Arranged upon this table are several objects, notably a rooster and a knife. The rooster’s form is highly abstracted; it appears as a collection of sharp angles and planes, its features reduced to essential lines that convey the impression of a bird without adhering to realistic representation. Similarly, the knife is depicted with an emphasis on its geometric structure, its blade appearing as a series of intersecting shapes.
Above these objects, a cluster of leaves or foliage is arranged, also broken down into angular forms and rendered in muted tones. The background is divided horizontally; a warm ochre tone occupies the lower portion, while a cooler grey-blue wash fills the upper area, creating a sense of spatial recession. This division isnt seamless but rather marked by visible brushstrokes that contribute to the overall textural complexity.
The color palette is restrained, primarily utilizing earth tones and greys with occasional accents of darker hues. The limited range contributes to a somber mood and reinforces the painting’s focus on form and structure over vibrant expression.
Subtly, theres an unsettling quality to the arrangement. The fragmentation of forms disrupts any sense of harmony or naturalism. The rooster, traditionally a symbol of vitality and dawn, is rendered in such a fractured manner that it loses its inherent symbolism, becoming instead a formal element within the composition. The presence of the knife introduces a latent tension; while not overtly violent, its inclusion hints at potential disruption or threat.
The painting seems to explore themes of deconstruction and reassembly, questioning traditional notions of representation and perception. It’s less about depicting objects as they appear in reality and more about analyzing their underlying geometric structures and presenting them in a new, fragmented order. The overall effect is one of intellectual inquiry rather than emotional expression; the artist appears engaged in an exploration of form and its potential to convey meaning beyond literal depiction.