Saeki moved to France twice. This is one of the most notable works from his second residency in the country. In addition to the posters plastered on the wall, the writing in them functions as an important element in the painting. The splattered style of writing, or painting, is the same style Saeki used to depict the shoes of the woman and child visible in the lower left and the base of the gas lamp. The swelling rhythm of the work as a whole also seems to derive from these things. In the upper right, there is also some writing that is not part of an advertisement. The word “construction,” which is more suitable for architecture than painting, seems to suggest the artist’s intentions.