While Moses' way of piecing together compositions was partly dictated by her sense of abstract design, the arrangements were always subordinated to the requirements of the landscape. As a substitute for academic perspective (which she had never learned), she had recourse not just to a progressive scheme of diminishing sizes, but also to coloristic indicators of space. She was quick to note such qualities as the pale blue of distant hills, or the tonal gradations of the sky. She translated phenomena observed from nature into veils of color and layers of pigment.

The Spring in Evening is notable for the way in which Moses captured both time of year and time of day. The rawness of the freshly plowed earth, the new growth on the hillside, and the lambent pink of the sunset are all rendered with a sure feel for color and a striking verisimilitude. Variations in the physical and tonal density of the paint create a series of transitions between the artist s anecdotal vignettes and the more complex hues of the landscape. The bold silhouette of the horses and the houses are spare, formal essences embedded in a network of paint. It is, however, the natural landscape that brings the whole to life.