Literature: Article in the newspaper “Berlingske Tidende”, April 18th 1966, reprod. Literature: Preben Wilmann and Marianne Brøns: “Lundstrøm”, Copenhagen 1977, no. 250, reprod. p. 249. Exhibited: “Vilhelm Lundstrøm”, April 1966, The Katrinedal School, Vanløse. Exhibited: “Vilhelm Lundstrøm 100 År - 1893–1993”, Charlottenborg, Copenhagen, Fyns Kunstmuseum, Odense and Randers Kunstmuseum, 1993–94, cat. no. 122, reprod. p. 238. In the early 1930s Vilhelm Lundstrøm returned to Denmark after 10 years in the Southern France. Previously, in 1916–17, he had made a name for himself in the Danish art world with his cubistic experiments and the so-called “packcrate paintings”. Some time around 1924–25, by way of “the crumpled period”, he reached what has been called his purist phase in which he would base his paintings on simplified elements and classically modelled human figures. Finn Terman Frederiksen has described Lundstrøm's mature style as “constructive realism” in so far as it involves still lives in plastic illumination that are located in visual spaces of lucid construction and fixed structure. Lundstrøm's colours and shapes are embedded in something observed, real and recognisable. They are linked to concrete objects or figures with space and mass effect. “Still life with White Jugs, White Bowl and Black Bottle” is a perfect example of the balance of its unerring composition and because of the balance and the interplay between spatiality and pure colour surfaces.