Jonas Švažas was a major figure in the Post-Stalinist period in Lithuanian painting, and stands out with his multifaceted works that are already part of the tradition of Lithuanian art. According to the art critic Raminta Jurėnaitė, 'We can interpret his career as his very individual way of resisting the Soviet reality. He countered the anonymously organised system of restrictions with a confidential relationship of small artistic communities, and painted the drab reality in bright, vibrant colours, casting it in a hopeful and joyful mood.'

The stylistic roots of Švažas' approach probably come from the Fauvist movement, which inspired his interest in colour, rhythm and contrast. He applies modernist principles in art, with the attention focused on expressive compositions of unexpected forms and modernist colours. His individual painterly language expreses itself most forcefully in the genre of the industrial landscape.

This composition benefits from the artist's skilful framing of its parts. Certain elements of the real object are brought close up and abstracted: the supporting structures of the bridge appear immense and threatening from a low viewpoint; the light falling through the black gaps creates red and yellow patches of colour. Beside the combinations of blacks, blues and greens, they strike us as intense and dramatic. By painting industrial motifs, the artist managed to comply with ideological requirements without compromising his modernist position. He discovered motifs that were unexplored at the time. He found unexpected, bold and exciting colour schemes in them, and could indulge in expressive brushwork anticipating gestural painting.The Bridgeis constructed of opposing areas of colour, held together by broad brushwork resembling the language of Abstract Expressionism.