In an article entitled “Toward a Re-interpretation of Cubism,” Winthrop Judkins singled out a number of formal characteristics common to the still lifes of Picasso, Braque and Gris done between 1912 and 1916: planes which are at once transparent and opaque; tones of objects which “bleed” out and become background tones so that the object is part of, and at the same time in front of, the background; outlines which coincide with other outlines so that the continuity may be read around either or across both; surfaces which recede behind other surfaces and project over them simultaneously; shadows, mutually excluded by each other's light sources, standing side by side; etc. He concluded that “clearly that which all these things have in common, that of which they are an unending variety of manifestations, is this: A deliberate oscillation of appearances, a studied multiplicity of readings, a conscious compounding of identities, an iridescence of form.”