The work presents a strongly simplified, constructively structured composition of a bottle, a glass, and a fanned-out napkin. The objects are reduced to lines, planes, and contours, creating an abstracted, sketch-like impression. The restrained palette of grey, beige, and white tones is interrupted only by a striking turquoise line that lends the still life rhythm and structural tension. Evard dispenses with illusionistic modelling and develops the forms solely through relationships of planes and linear articulation. <\/p>\n\n
In art-historical terms, the work stands in the field of tension between synthetic Cubism <\/strong>and the emerging Concrete Art<\/strong>, among whose early representatives Evard is counted. The still life marks a transitional phase <\/strong>in his oeuvre: the motifs are still recognisably representational, yet are already treated according to principles of constructive order<\/strong> and formal reduction<\/strong>. In this way, the painting combines Cubist dissolution of form<\/strong> with the clear, structural rigour of the abstract avant-gardes<\/strong> of the 1920s, and shows Evard\u2019s path towards his later geometric pictorial vocabulary. <\/p>\n","protected":false},"excerpt":{"rendered":" Still life with glass and bottle, 1924, oil on cardboard, 39 x 47 cm (R.), 25.5 x 33.5 cm (top right) <\/p>\n","protected":false},"author":1,"featured_media":3116,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"iawp_total_views":0,"footnotes":""},"categories":[29],"tags":[],"class_list":["post-3115","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-concrete-constructive"],"yoast_head":"\n