Earlier artists painted exactly the solid objects they physically saw. Renaissance paintings only give the audience one single view. In contrast, not only suggested multiple points of view, Gris created an imaginative space by putting different objects together in a rectangular plane. .
Gris captured this view from his hotel window in the town of Ceret. This painting is a still life of a door, a guitar, two books, a cup, a cloth on a brown table, and waves in the blue sky. The window crops the sky and the waves or the mountains. I believe the two rectangles on the top are the glasses of the window, which were transparent and made a portion of the background and the door duller. This was not the only painting Gris put still life objects next to an open window. He did it over and over again because he was challenging himself and playing with the proportions and the size of the objects to accomplish the concept of near and far. .
The placement of each object is interesting that we see the shape of objects repeating and rebound to each other. Douglas Cooper, and art historian had said in his book the Temperament of Juan Gris, "he [Gris] could establish a varying linear surface rhythm and bring objects into a new and so to speak, 'rhyming" relationship' with each other by creating formal analogies between them." For example, a corner of the desk echoes the mountaintop and another corner echoes the one corner of the door. Also, the edge of the book is right below the guitar while the cup is vertical to the guitar. Instead of shadowing on an object, Gris created the shadow by putting them next to the objects, simply flattening the image. There are shape similarities in this painting. The left side of the table is in a rectangular form that is symmetry to the yellow door. In addition, the shape of the wave is a reflection to the shadow of the guitar. Gris was very into the theme of indoor versus outdoor.