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In this still life from 1910/11, Vlaminck's preoccupation with Cubism is very much in evidence. Like the still lifes of the previous years, it shows a close-up arrangement of various objects, in this case a blue pitcher, a fruit bowl on a pedestal, a plate and a pitcher. However, the shapes are now angular, such as the foot of the fruit bowl, and merge with the shapes of the surrounding space. In addition, the viewer's position is elevated, creating a top view, while at the same time the supposed table on which the objects are standing rises upwards. The perspective is noticeably distorted and there is no sense of depth. The painting style is clearly smoothed, with only the occasional brushstroke visible. A strong orange dominates, contrasting with the dove blue, while a light grey accentuates the bowl of fruit.

Looking back, Vlaminck expressed his disapproval of Cubism in 1929: 'Cubism has become a kind of epidemic. Vlaminck rejected the style because it came from the mind, not from a pure view of nature. Throughout his oeuvre, plein-air painting dominated over the immediate impression of nature, as can be seen in the many landscapes he painted along the Seine. The still life genre played a special role in Vlaminck's oeuvre: it was a field of experimentation where he could try out or test artistic means and thus develop his painting.