This painting of colorful outdoor view is a picturesque work, the vision of a relaxed spectator who enjoys the charm of his surrounding without any moral concern. It recalls Van Gogh's mood when he wrote that "the night is more alive and
more richly colored than the day." The color is more profuse and the eye wanders along the steeped or dovetailed edges of neighboring areas - irregular shapes fitted to each other like a jigsaw puzzle design. To divide this space for long
into large object and background themes is difficult for the eyes; the distant and nearer parts are alike distinct. The yellow of the cafe plays against the blue-black of the remote street and the violet-blue of the foreground door, and,
by a paradox of composition that helps to unify the work, at the strongest point of contrast the awning's blunt corner nearest to us touches the remote blue sky. Foreshortened lines that thrust into depth, like the lintel of the door, are
strictly parallel to lines like the slope of the yellow awning and the roof of the house above, which lie in planes perpendicular to the first. For this roving, unengaged vision the upward dimension is no less important and expressive than
The silhouette of the starry sky is key to the patterning of the whole; the poetic idea of the work - the double illumination and contrast of the cafe and the night sky - is developed through this jagged from. In the silhouette of the orange cafe floor and the adjoining window and doors, we discover the inverted shape of the blue sky; the scattered disks of the stars are matched in the elliptical tabletops below. If the cafe stands out as the brightest and most complete object in the scene, it is less defined than the starry sky and its color is the most unstable, passing from yellow to orange and green, and contrasting sharply with almost all the other colors in the circle of cooler and darker tones around it.