It can be assumed that Evard used the 1919 work ‘Still Life with Bread’ as a template for this abstract composition consisting of geometric shapes. The arrangement of forms recurs: where he depicted the folded napkin in 1919, we now find kaleidoscope-like rays. In the lower margin of the painting, the angular shape of the former table is repeated, and the 1962 version also incorporates the steps and the round arch from the left half of the image. More than 40 years separate these works, and Evard is now far from depicting a loaf of bread. Red and blue, black and white, rectangles and triangles merge in this composition to create a powerful image that now derives its dynamism solely from the interplay of forms and colors.