This extremely interesting key work from 1920 demonstrates that Evard was exposed to a variety of artistic influences at that time. Also inspired by his trips to Paris, he radically developed his own formal language during these years and is rightly considered an important artist of the avant-garde. Two flowers in a vase are depicted, standing on a partially visible column. However, the artist dissolves the background into a seemingly multi-perspective urban panorama, which is distantly reminiscent of the disorienting perspectives in the works of Giorgio de Chirico (1888-1978). This surreal environment also merges foreground and background: The window, which separates the interior from the exterior, is not visible at all here; rather, the viewer seems to be drawn into the metropolis and the artistic spirit of optimism of that era.