For example, the abrupt way Laval's face is cut off is a tribute to Edgar Degas' off-centered, oddly-cropped compositions, while setup of the still life and the parallel brush strokes in the fruit harken to Paul Cézanne's work.

In addition to those other much-admired artists, Gauguin inserted himself into the composition in the form of the ceramic "monstrosity" he created, a strange interruption which Laval examines quizzically.

[3] The pot itself helps place the creation of this painting very late in 1886, after Gauguin had returned to Paris, because it was not created until at least October.

[4] Vincent van Gogh had suggested a portrait exchange among the small group of artists (also including Émile Bernard) gathered at Pont-Aven in order to create a greater sense of community, a tradition known as Freundschaftsbild.

Samuel Josefowitz, a Swiss collector, amassed the 17 paintings and 84 prints, worth an estimated $30 million.