The 1924 work “Blue Roses,” part of the rose series, is a key and masterpiece by Evard. Building on the rose still life from the previous year, this work showcases his evolution into a master of the concrete-constructivist avant-garde. The artist deconstructs the roses into a complex construct of geometric forms that fill the entire picture plane, leading to a complete abandonment of perspectival representation. Square and rectangular forms dominate this painting: a large, tilted square frames the circular segments of the roses, creating a wonderful tension between angular and round shapes. The cool color palette – predominantly grays and blues – represents a stark departure from the natural hues of the rose still life: the motif now appears to bear a greater affinity with the world of machines. The interplay of these contrasts – the natural, organic, animated, and ephemeral on the one hand, and the constructed, calculable, mechanical, and timeless on the other – defines the power and profundity of this key work by the artist.