1955 Nature morte sur une commode Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a still life arranged on what appears to be a chest of drawers or commode. The artist has fragmented and reassembled recognizable objects into a flattened pictorial space, eschewing traditional perspective in favor of multiple viewpoints simultaneously depicted. A central rectangular plane dominates the scene, acting as both a backdrop and a structural element that divides the composition into distinct zones.
On the left side, a vase filled with flowers is rendered with simplified forms and a limited palette of blues, whites, and yellows. The floral arrangement seems to spill out from the container, its petals and stems dissolving into the surrounding space. To the right of this, a bowl overflows with fruit – oranges and what appear to be lemons – arranged on a patterned surface that echoes the design of the chest of drawers itself.
The commode is not depicted as a unified object but rather as a series of planes and angles. Its surface is covered with an intricate pattern reminiscent of textiles or wallpaper, further blurring the boundaries between foreground and background. A drawer protrudes slightly from the chest, its front adorned with a small circular motif.
A vertical element on the right side, resembling a curtain or screen, introduces another layer of visual complexity. The patterned surface suggests depth but is rendered in a manner that denies any sense of realistic space. The color scheme is predominantly earthy – browns, ochres, and muted yellows – punctuated by splashes of blue and white.
Subtly, the work seems to explore themes of memory and perception. The fractured forms suggest a fragmented recollection of reality, as if the objects are being viewed through a distorted lens or recalled from a fading memory. The repetition of patterns across different surfaces creates a sense of visual echo and reinforces the idea that everything is interconnected. The deliberate flattening of space and the rejection of traditional perspective contribute to an overall feeling of detachment and introspection. It’s not merely a depiction of objects; its an exploration of how we perceive and remember them.