With its rhythmic and colorful round elements, this work is committed to Orphism. In terms of color, Evard adheres to the teachings of Johannes Itten: The predominant colors in the painting are yellow, blue, and the resulting color green.
Relatively late, Evard shows himself influenced here by the theories of Delaunay, who was of the opinion that the simultaneous effect of the colors in the picture provides us with a compressed image of reality, since our reality only comes about through the incidence of light.