This masterpiece from 1919 is an impressive example of how Evard, starting from still life and influenced by Cubism, would develop into a constructively working artist. The work depicts elements of a still life: In the foreground, we find the titular bread, which, through its natural coloring and spatial representation, contrasts with the other elements of the still life. Glasses, a bottle, and a folded napkin can also be discerned; however, the artist dissolves these objects into geometric forms and renders them flatly. The impression of spatial depth thus emerges only sporadically and incoherently: the background is formed by a multitude of disparate-looking formal or architectural elements – are steps or an archway discernible? These elements no longer coalesce into a coherent perspective; instead, the inherent dynamism of the forms increasingly comes to the fore.