As other post-wartime works by Gleizes, Woman with Black Glove represents a break from the first phase of Cubism, with emphasis placed on flat surface activity and large overlapping geometric planes.

There are several smaller versions of Woman with Black Glove, illustrating a facet of Gleizes' pursuits during the early 1920s: "reminiscences of specific reality evoked within the context of increasingly careful picture construction", writes art historian Daniel Robbins.

The overall color scheme is warm, consisting of red through yellow, browns and tans (earth tones, ochres), and black, along with varying shades of cool gray.

The overt distillation of the composition, with its emphasis placed on flat surface activity, large overlapping planes, and the primacy of the underlying geometric structure rooted in the abstract, is consistent with Crystal Cubism.

His painting for the great halls of future cities project a flamboyance of colors to which we were not accustom [Gleizes a envoyé un portrait de femme très pur.

Sa peinture pour les grands halls des cités futures dégage un flamboiement de couleurs auquel il ne nous avait pas habitués].

[2]Gleizes's works from this period are "characterized by dynamic intersections of vertical, diagonal, horizontal and circular movements", writes Robbins, "austere in touch but loaded with energetic pattern.

[4] Basing himself on his 1915 abstractions, Gleizes sought to clarify his intentions and methods further still in La Peinture et ses lois, deducing the fundamental principles of painting from the picture plane, its proportions, the movement of the human eye and the universal physical laws.

[8][7] The problem set out by Gleizes was to replace anecdote as a starting point for the work of art, by the sole means of using the elements of the painting itself: line, form and color.