The Drawer (1921) stands as a testament to Weber's dedication to still-life painting. Within the unfinished composition of the painting, Weber's emphasis on color is evident through the use of complementary colors to shape the forms of the fruit. By 1921, Weber was teaching at the Arts Students League in New York and actively sharing his philosophies on art appreciation. Weber returned to the still life genre throughout his career and cultivated a discerning eye for objects of significance in his environment: “Culture will come only when every man will know how to address himself to the inanimate simple things of life,” Weber claimed. “A pot, a cup, a piece of calico, a chair, a mantle, a frame, the binding of a book, the trimming of a dress…these we live with. Culture will come when people touch things with love and see them with a penetrating eye” (Max Weber, Essays on Art, New York: William Edwin Rudge, 1916, 32).