In the early years of modern art, when Braque and Picasso—after Cézanne—began a detailed analysis of the components of a pictorial space, they used still lifes as a means of investigation. Perhaps because they achieved a certain objectivity with regards to their work when painting insignificant objects, which neither portraits, nudes, or scenes-de-genre would have given them. The still life, like a type of crucible, a laboratory instrument, became a pure pictorial space. Then, with the growing popularity of lyrical abstractions, with the triumph of gestural expressionisms and artistic introspections, this genre was relegated to limbo..
However, the still life is not dead, it has simply changed character; undoubtedly, it left behind being the melancholy description of Nature to become an exalted vision, charged with personal feelings.
Pedro Diego Alvarado picks up still lifes at the moment that Cézanne left them and, passing the divergent explorations of contemporary art by, seeks to recover with them and with these intimate visions of his own studio, the force in the act of painting. Of course, his strictly composed canvases are anachronic, though they present extremely modern features (the lateral cuts of the canvases leaning against the wall, for example, which contrast with the frontal, more traditional compositions of still lifes.) However, with his skill in drawing that differentiates him from all the current spontaneuists, Alvarado manages to create suggestive works in a minor tone.