Yuri Pimenov [ru] (1903–1977) chose a poetic understanding of reality, tried to convey feelings, which would become characteristic of postwar Soviet painting.

[6] In the 1930s, Pimenov became interested in the work of Jean-François Millet, Pierre Auguste Renoir, Édouard Manet, Valentin Serov, and his own artistic style was strongly influenced by Impressionism.

[7] In an article written in 1937, Pimenov named Jan Vermeer, Jean-Baptiste Chardin, Antoine Watteau, Raphael Santi, Paul Verlaine, Boris Pasternak, Claude Debussy among his favorite authors.

[9] The artist wrote about his desire to convey "the great events of life in ordinary prosaic situations", "to extend the boundaries of the poetic, to capture the new things that time brings and that have long remained unrecognized and unnoticed".

The painting immediately attracted attention and received wide acclaim,[11] but at the same time some art historians accused the canvas of formalism because of the fractional brushstrokes characteristic of the Impressionists.

[18] In 2016, the publication of an article by an anonymous author in the popular scientific-historical magazine "Diletant" "Artist Yuri Pimenov and his painting 'New Moscow'".

The speed of the car, the light color, the vastness of the space create a feeling of optimism and hope for a happy future.

It brings to the artist no less a wealth of sensations and feelings than the fields covered with the gray shroud of autumn, than the puddles in the ruts of black country roads, than the sparkling drops on the pine branches and the sun through the steamy air of the wet forest".The angle of the canvas imitates a shot from a movie.

In the book "Earthly Art" he noted: "In my life wife ... always my best model — remembering my work, made over many years, I see her figure, her hair or hands ...".

The artist himself noted the Russian face of his wife, wrote that he used her as a model when he tried to move away from the schematism of youth and express a lively and tender feeling.

For the first time Pimenov turned to the image of his wife's hair from the back in the study the "Golden Dress" (1936, canvas, oil, 55 × 45 cm, collection of M. G.

[4] Galina Kirillova notes that the painting has a demonstrative quality, as if the artist "decided to show us the city with the broad gesture of a hospitable host.

[25] This is due in no small part to the symmetrical composition, which gives it stability even as it emphasizes the movement of the action.

The monumentality of the buildings, according to Sergey Ivannikov, candidate of philosophical sciences, corresponds to the height of the tasks that Soviet society will solve in the near future.

Sergei Ivannikov saw in this a hidden dissonance between the image and ideology: the latter associated the future with the triumph of social and ethic justice, not technology.

Ivannikov notes, however, that this shows the viewer that society is divided into two fundamentally unequal groups: those who walk and use public transportation and those who have the means to use private vehicles.

In the painting "New Moscow" he introduces the heroine into the atmosphere of new clothes, automobility, housing construction, where she now belongs to a variety of roles.

The heroine appears before the public "in all the bloom of self-confident youth", "more light, feminine, elegant" than in the artist's earlier works, but still retains her sportiness.

[34] Tatiana Gorodkova notes the closeness of the color solution of the picture to the works of Pierre Auguste Renoir.

[4] Elena Voronovich sees in the painting a combination of Art Nouveau (the use of cinematography in the composition — the camera seems to be fixed on the back seat of the car), Impressionism (the image of carefree joy of existence) and Socialist realism (the depiction of reality in its revolutionary development).

The illusion of movement created by the triangle formed by the narrowing street in the distance and the heroine's position to the right of the composition's center.

[11] Voronovich noticed the similarity of the composition of the painting with a frame from the film "Tanya" by Grigory Alexandrov (1940) — the Soviet Cinderella, played by Lyubov Orlova on a car, rises into the sky and flies over Moscow.

The artist's canvases are created with many strokes of delicate shades, but the forms of the objects depicted are material, the contours are definite, though softened with each other.

Pale blue, lemon yellow, lilac, pink and pearl gray colors, superimposed with light strokes, give originality to the artist's manner.

[36] According to O. M. Beskin, the poetic atmosphere in the picture is achieved by the warmth of the play of straw-yellow and golden tones, some of which turn blue, which was characteristic of Pimenov's work at that time.

The viewer becomes an imaginary passenger in the car, looking through the eyes of a woman and perceiving the Moscow panorama through her senses.

The woman behind the wheel becomes a mediator between the viewer and the life of the inner space of the canvas, between the feelings and thoughts of the artist and the perception of the audience.

[17] Art historian Yana Shkliarska found in the painting the proportions of the golden ratio, as well as a triangle that sets the reverse perspective with a vanishing point at the level of the girl's head and formed by the backstage houses.

[34] In 1944, the artist again depicted the girl driver with her back to the viewer in the painting "Front Road" (State Russian Museum).

The proof of it he saw in the "Moscow behavior" of the heroine and in the fact that "how a little on the cap is worn ushanka, how arranged the hair at the back of the head, in how folded sits on her military dungaree coat".