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From the 1920s, Vlaminck increasingly turned to new subjects that had not interested him before the First World War: snow-covered village scenes and forests became his favourite subjects. The 'effet de neige' (snow effect) had already been popular with the French Impressionists. However, Vlaminck always imbued his snow paintings with a gloomy, sometimes even menacing atmosphere that contrasted sharply with the cheerful scenes of Claude Monet or Alfred Sisley, for example. This impression is created in particular by the design of the sky, which is usually overcast by thunderstorms and, in the present painting, even painted in a rich black. The contrasting snow is rarely painted in pure white, but is often mixed with grey, or here even with turquoise green.

The village road, painted in brown, leads the eye from the foreground to the background. The painting is constructed in central perspective, a classical compositional technique that Vlaminck did not use in his Fauvist works or those painted around 1910. Houses line the street to the right and left, and a figure with a red scarf - a striking splash of colour - walks on the right.