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The artists of the Nabis group, founded in 1888, which means 'prophets', were also models for Vlaminck and the Fauves. In addition to Édouard Vuillard, Paul Sérusier and Maurice Denis, the Nabis included Pierre Bonnard, whose painting is shown here. The art of the Nabis is characterised by the overcoming of classical perspective, the use of pure colours and a limited surface form. As well as Paul Gauguin, the Nabis also admired Cézanne.

The subject of the painting is a laid table with a white tablecloth at which two women are seated. The viewer's point of view is elevated, giving the impression of a top view. Both figures are cut off by the edge of the painting. The figure on the left is seated with her head turned towards the viewer. The figure on the right is bent over the table, his gaze fixed on the white surface. Behind the table, the space depicted appears very narrow; it is largely taken up by a red panelled wall, with which the standing figure on the right corresponds closely at the edge. An armchair in a light turquoise almost disappears from view on the left. The emphasis on flatness and the lack of pictorial depth are typical of Nabi painting and can also be found in many of Vlaminck's works.