1958 Nature morte Е la tИte de taureau Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a still life arranged within a fragmented space, dominated by a stark interplay of color and geometric forms. A dark, roughly sculpted bulls head occupies a central position, its features simplified and abstracted, yet retaining a sense of weight and presence. The animal’s form is not rendered realistically; instead, it appears as a collection of planes and angles, contributing to the overall fractured aesthetic.
Behind the bulls head, a dense cluster of foliage rises from an ornate vessel. This vegetation provides a visual counterpoint to the solidity of the animal, introducing organic curves and a sense of vitality into the scene. The leaves are painted with broad strokes, their forms overlapping and creating a layered effect that obscures any clear depth perception.
The background is divided into distinct planes of color. A vibrant red panel on the left features what appears to be a stylized depiction of fruit – perhaps apples or pears – rendered in yellow and brown hues. This element introduces an additional layer of symbolic complexity, referencing traditional still life motifs while simultaneously disrupting the overall coherence through its flattened perspective. To the right, a blue-grey area suggests a window or opening, framing a patch of pale sky. The sharp contrast between the red and blue creates a dynamic tension within the composition.
The foreground is defined by vertical lines painted in alternating shades of blue and white, which serve as a visual barrier between the viewer and the depicted objects. These lines further contribute to the sense of spatial fragmentation, suggesting that the scene exists within a constructed environment rather than a natural setting.
Subtly, the painting seems to explore themes of confinement and duality. The bull’s head, a symbol often associated with strength and aggression, is presented in a restricted space, its power seemingly diminished by the surrounding geometric forms. The juxtaposition of organic and inorganic elements – the foliage versus the angular shapes – suggests a tension between nature and artifice, or perhaps between instinct and intellect. The fragmented perspective and flattened planes deny any illusionistic depth, forcing the viewer to confront the two-dimensionality of the canvas and question the relationship between representation and reality.