The thick application of paint, the swirling brushstrokes, and the brilliant color in Gogh’s painting provides a landscape that everything seem to move. In the painting, the brushstrokes sweep from the side of the stairway at the center towards all the margins of the canvas. The woman in the painting sways back and forward like curvy path walking down. The stairway seems to be gliding down the hill. His picture of the street occupied with bright blues, greens yellows of the early spring. The texture of brushstrokes makes a person desire to touch the picture (Cahan, 2003).
The comprehensive symmetry, recurrent arabesques, the wavy pairings, and the ribbon patterning are among the popular decorative taste of 1890s. The painting has a tilted quality as it amount a dilute tone of green, yellow, and blue, together with white color. A scene of the many encounters and convergence focused upon the central part on the foot of the steps. Having no real dominant, the general effect of the painting is governed by the hectic movement of the unsteady diagonal lines imposed upon the objects of the unlike characters. Repetition of the restless theme is very much impulsive, though, contains many interesting variations. Therefore, the painting soon loses the aspect of ornament and ends up becoming a work of concentrated seeing and an intense passion (In Shindler & Contemporary Art Museum St. Louis, 2014).
Discovering the contrasting straight lines in the building, the famous red roofs and the stabilizing verticals and horizontals provides the visionary quality of the artistic work. The numerous touches like yellow hats golden doorways and dark windows show the deliberate opposition to prevailing instability in the city. In between the steps and the house, the long coiling triangular shape is significant. It reminds of the cypress and roads in the previous work of ecstatic (In Shindler & Contemporary Art Museum St. Louis, 2014).