Between 1905 and 1908, Weber resided and worked in Paris, where influential figures of the avant-garde were shaping revolutionary modes of visual expression. By 1911, Max Weber had returned to New York, where after his formative years studying in Paris, he garnered recognition from his contemporaries as a trailblazer of modern art in the United States. As example of his early still lifes, The Pitcher, reveals Weber's comprehension of Cubist principles, evident in its experiments with multiple surface planes, echoing the collage-like compositions reminiscent of Synthetic Cubism.