1945 Tasse, verre et cafetiКre Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a still life arrangement rendered in a fractured and abstracted style. Several objects – a cup, a glass, what appears to be a coffee pot or carafe, and a rectangular form – are arranged on a surface that is itself fragmented into planes. The artist has employed a limited palette dominated by whites, grays, blacks, blues, and touches of red-orange.
The objects are not depicted realistically; instead, they are broken down into geometric shapes and reassembled in a manner that challenges conventional perspective. Each element seems to exist on its own plane, with multiple viewpoints presented simultaneously. The cup, for instance, is shown both frontally and in profile, creating a sense of disorientation. Similarly, the glass appears as if viewed from several angles at once.
The rectangular form positioned centrally commands attention. Its dark interior contrasts sharply with the lighter exterior, suggesting depth and enclosure. A small patch of red-orange within this shape introduces a focal point that draws the eye and adds a subtle emotional intensity to the otherwise muted color scheme.
Shadows are rendered as distinct planes, further emphasizing the fractured nature of the scene. They do not simply indicate light source but contribute to the overall sense of spatial ambiguity. The surface upon which these objects rest is similarly fragmented, lacking any clear indication of depth or continuity.
The painting’s subtexts likely revolve around themes of perception and representation. By dismantling familiar forms and presenting them in a non-naturalistic way, the artist questions how we understand and interpret the world around us. The fractured planes could be interpreted as representing the fragmentation of experience itself – a sense of disruption or instability. The limited color palette reinforces this feeling of austerity and perhaps even melancholy.
The arrangement feels deliberate yet unsettling; it is a study in deconstruction, inviting viewers to actively engage with the work and reconstruct their own understanding of what they see. It suggests an interest in exploring the underlying structures that shape our visual experience rather than simply replicating reality.