The human figure has an important place in the work of Durrio. It is used for themes posing questions on the origins of life, about death and silence, all preoccupations present in this Anthropomorphic Pot. The object combines a phallic shape with an opening suggestive of female genitalia. The character in its foetal position, with wild features, seems to be covering its ears, as if it were trying to extract itself from the world surrounding it, in a quest for the absolute.
People at the time would have detected the influence of both Goya and Redon here. Nowadays, it is Gauguin's name that comes to mind. We know, thanks to Charles Morice, that Durrio became friends with Gauguin when the painter returned to France after his first visit to Tahiti between 1893 and 1895. We also know that Durrio acquired a number of Gauguin's works from a sale at his studio in 1895. Objects like this perfectly accomplished piece enable us to appreciate these influences.