dates from a pivotal period in María Blanchard’s career. Embracing the tenets of Cubism whilst living in Paris and creating some of her most significant works. Blanchard was inspired by the example of Juan Gris, whom she had first met in Montparnasse in 1915. However, it was Léonce Rosenberg who, in 1916, recognised Blanchard's talent and secured her financial future. In the artist's own words, 'he was one of the famous art dealers, such as Durand-Ruel, Vollard, Kahnweiler, etc. He either gave me monthly arrears, or bought my paintings in advance, i.e. virtually the totality of my production. Don't forget that I worked slowly. The American buyers, such as Gertrude Stein and her brother, or Germans like Wilhelm Uhde, Russians like Tchoukine, and the often omitted Zborowski, Modigliani and Soutine's dealer, or again the Swiss Herman Ruff, did not visit my studio, which my painter friends were cautious not to tell him, i.e. Gris, Rivera, Picasso and even Lhote' (Maria Blanchard quoted in, Liliane Caffin Madaule, Catalogue raisonné des œuvres de María Blanchard
, France, 2007, p. 49).
The present work displays several of the primary concerns of Cubism to striking effect. The choice of subject-matter, collage still life, was of abiding interest to artists such as Georges Braque and Pablo Picasso who pioneered the movement, since still life objects served as useful vehicles for the effective fragmentation of form. The striking distortion of perspective within Le Monogramme acts as an intriguing visual challenge for the viewer, whilst the inclusion of scraps of words within the composition adds another element of complexity to the scene. The result reveals Blanchard’s total mastery of the Cubist form.