In this composition, dated from 1892, the artist frees himself from drawing to concentrate on modeling. In the left part there is a grove of trees. On the right, an apple placed on a tablecloth, above which are various mixed female faces seen from behind, together with other fruits. Beyond the apparent discordance of the composition, Renoir united all its elements by using the same rapid brushes strokes to depict them, and the same shades of green, red and earthy brown. In addition, the round shape that predominates in these three models brings a sense of coherence to the whole.

Not all motifs receive the same attention. Some are much more detailed than others, which is the case of the grove and the apple on the tablecloth. These two motifs, although both vegetal, are nevertheless opposed in terms of subject; one belongs to the landscape, and the other to the still life. It may be that this antagonism reflects Renoir's artistic struggles at that time. Indeed, Renoir expresses his frustration of having to spend a lot of time painting in the workshop, outdoor painting remaining of great importance to him, because of weather conditions and material constraints caused by the difficulties in concluding ambitious projects outdoors. Using outdoor and workshop motifs in one single painting can be a representation of this dilemma.

The female faces that reveal themselves on the right side can be seen as the symbol of Renoir's art during the 1890s, as they are recurrent in the paintings of the artist at that time. Many of these paintings of contemporary figures represent young girls in their daily activity, which is also the case for "Girls at the Piano" (1892, Paris, Musée d'Orsay). Thus, this oil on canvas configures a study of Renoir's feelings towards his painting of that time, his struggles and his pleasures.