Picasso's Still Life works, whether in oil, pencil, lithograph or linocut, provided an equally important outlet for his creativity. Fine prints such as Nature Morte au Pot de Grès satisfied the artist's need to distribute his ideas in a variety of media, and compare directly to paintings such as Nature Morte: Fruits et Pot of 1939, in the Solomon R. Guggenheim Museum.

The table and the objects in both are thrust forward in the composition, the effect partly due to 'the daringly simple background..against which the...objects appear to float.' This effect of dynamic space, which had its roots in traditional Spanish still-life painting, would greatly influence British artists such as William Scott. It was, though, not arrived at by any contrived formulaic process, it depended utterly on the balance and tension between each object in the picture plane and was therefore a measure of pure artistic sensitivity.

The vastly different textures and patterning of the objects in Nature Morte au Pot de Grès are an intriguing device, also exhibited in Matisse's ink drawings, to suggest colour where there is none.