Servei de te 1928 Pere Daura

The composition presents a still life arranged on a complex, fragmented table surface. Here we observe a teapot and cup as central elements, rendered in a simplified, almost schematic style. The objects are not depicted realistically; instead, they appear broken down into geometric planes and facets, suggesting multiple viewpoints simultaneously.
The color palette is dominated by warm tones – ochres, oranges, and reds – contrasted with cooler blues and greens. These colors arent used to create a sense of naturalism but rather to emphasize the structural elements and spatial relationships within the scene. The background is similarly abstracted, featuring broad planes of color that contribute to the overall feeling of flattened space.
The table itself is constructed from overlapping rectangular forms, creating an unstable and dynamic visual field. Its surface appears tilted or fragmented, further disrupting any sense of traditional perspective. This fragmentation extends to the teapot and cup, which are not presented as unified objects but rather as collections of intersecting planes. The artist seems less interested in portraying their appearance than in exploring their formal qualities – shape, volume, and how they interact with light and space.
Subtly, a sense of melancholy pervades the work. The muted color scheme and the deconstruction of familiar forms evoke a feeling of loss or displacement. The fragmented nature of the objects might suggest a disruption of order or a questioning of traditional representation. It’s possible to interpret this as an exploration of the instability inherent in perception itself, where reality is not fixed but rather a collection of subjective viewpoints.
The arrangement feels deliberate and controlled, despite its apparent chaos. Theres a sense that the artist is attempting to impose order on a fragmented world, or perhaps to reveal the underlying structure of things by dismantling them into their constituent parts. The overall effect is one of quiet contemplation, inviting the viewer to engage with the work not as a representation of reality but as an exploration of form and feeling.