Edgar Fernhout's early work is often classified as 'Magical Realism'. The present lot Stilleven from 1932, justifies this classification and is one of Fernhout's most extreme paintings. On one hand it can be identified as an experiment in light and shades. But, on the other hand, it is more than just a serious study. Before he realized the present work, Fernhout painted several traditional realistic still lifes with fruit on a white or grey sheet. In Stilleven from 1932 the sheet is no longer an attribute in a still life, but has become the main subject. Thus the artist gives a new meaning to an old traditional theme. This is a still life of almost nothing. Piet Mondriaan, a good friend of Fernhout's mother, must have had a serious influence on the young artist. The simple geometrical construction of space and the white and grey shades in the present lot remember us of Mondriaan's work. Also an older artist like Wim Schuhmacher with his subtle and monochrome grey colouring might have had some influence on Fernhout. Stilleven was immediately noticed in the exhibition at Van Lier in 1933. The well-known art critic Albert Plasschaert wrote "Het beste stilleven is ongetwijfeld het gedeelte eener kamer. Daar zijn de witten gevoelig in hun verhouding; daar is ruimte en licht uitgedrukt - en het is als werk het persoonlijkst van de verzameling". Later in his career Stilleven remained one of Fernhout's favourite early works and was selected by himself for the extensive travelling exhibition in 1971-1972.