In the academic painting of the end of the 19th century, we often find subjects such as interiors of apartments and in Barát Mór’s work, it can be seen how this subject was perpetuated in the twentieth century. This type of image depicts the bourgeois lifestyle, with its emblems such as Biedermeier furniture.

Despite the somewhat more traditional subject, the technique he uses, especially the expressiveness of the color, indicates the artist's inclination towards modernism.

The work is an unfolding of beautiful objects, constituting an elegant and peaceful interior, but it captures more than that. Just like the Dutch still lifes from the Baroque period, the interior of Barát Mór also has something grievous and melancholic: the absence of man.

The artist, who died in Auschwitz in 1944, also represents in this work a mirror. Unlike other artists such as Van Eyck, who introduced his self-portrait in a work through the mirror, or Velazquez, who uses the mirror to reflect his viewers - the king and the queen of Spain - Barát Mór reflects only an empty interior, abandoned by people.