The grandiose composition built on the contrasting harmony of green, purple and yellow was painted in Nagybánya: it is easy to recognise the town by the delicate slopes and fresh forests of the mountains surrounding Nagybánya. As opposed to stronger contours of Street in Nagybánya of the same year, Tihanyi did not apply strong and dark contours as was customary with artists of Neos. In Street in Nagybánya, he portrayed masses of trees in the background softer in order to express perspectivity, thus a dualism of portraying landscapes indicated that Nagybánya traditions had been retained. The picture with trees painted after his trip to Paris indicates rather the influence of Cézanne than that of the Wild: Tihanyi did not apply intensive colours as he did in the other picture. As a result of his form analysis, he broke branches to different plains, a method often applied by artists of the Nagybánya school and the Eights. His brushwork, sloping and striped, produced a peculiar rhythm and a kind of absurd vitality, a transition from a sensual portrayal of nature to structures of thought.