In this painting, we see Raveel's typical visual language emerging: object, form and colour are reduced to their essence. For Raveel, a painting is not a harmonious whole: it is full of disturbing components. All elements are given a specific plastic translation from their individuality. At the front of the table we recognise the wood structure, the top is used to represent perspective with lines. The bottle catches a lot of light and becomes a yellow and black-rimmed shape. The face is given volume by dashes and is somewhat reminiscent of Van Gogh's drawings. The bowl is barely recognisable, it becomes almost a self-contained white spot. We see how Raveel allows the painting to flow into its surroundings. Lines and planes representing space can be imagined to extend beyond the boundaries of the painting. The red arm, which is closest to the viewer, pops out in front of the canvas.