While remaining part of a pair, but not a diptych, Evening in Paris is a complete work in its own right. In his paintings of the second half of the 1890s the artist constantly turned to motifs of movement of various kinds morning, afternoon and evening. In the evening movement is in the nature of a stroll or a pleasure ride. The enclosed space of the boulevard is emphasized still more by the gathering dusk. The artist avoids precise details in his depiction of his figures and shuns sharp focus in favour of the soft glow of a patch of colour. Yet at the same time with what expressive precision the artist lays on his brushstrokes and patches! The understatement does no harm, but only helps. How neatly he captures a person's gait, his manner of holding himself. The old flower-seller in the painting moves like only she, the old flower-seller, can, unhurriedly counting every step. The children move in their own way, acting up a little, as only they can.