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Philosophy has been always engaged with the visual yet, in the twentieth century and by the advent of cinema, some philosophers started to make particular theories about this new technology and the specific picture it offers. One of the most prominent philosophers of this realm is Gilles Deleuze who based his philosophy of cinema on the concept of time-movement relationship and hence challenged key issues of metaphysical tradition like time, movement and subjectivity. Applying Deleuze’s ideas in Picasso’s artworks, this article tries to put forth a better understanding of the concept of time in his works, particularly his still lives. Put in another more Deleuzian and more cinematic term, it would be tried to use a cameralike look, dependant on “camera consciousness”, for exploring a thematic relationship in Picasso’s works. This results in new challenging perspectives on his artworks too.