In this way, perhaps his shift to pursue jungle scenes as in The Dream was because he discovered a niche market eager to purchase or praise his work: for the first time, this decision to switch to jungle-scene painting earned him the satisfaction of acceptance as an artist.
The destruction of perspective, or perhaps the creation of a perspective which is flattened and collage-like in nature, was arguably more than a stylistic decision by Rousseau in The Dream. By incorporating his figures of animals, people, and exotic plantlife in a flat world where each subject occupies individual planes, Rousseau was again trying to mimic traditionally accepted and appreciated artworks. This style is unique to his genius, yet reminds the audience of “famous frescoes in the Palace of the Popes in Avignon” (Dorival 18). Even as the artist was trying to give attention to every element of the work by placing each on individual planes in the composition, he was also referencing frescos, known for their flatness and appreciated for their technical quality.
	Additionally, the size of the composition is extremely large, measuring 6' 8 1/2" in height and 9' 9 1/2" in width. The majority of Rousseau’s work is not nearly as grand in size. Prior to the spread of modernity in European art, such a large scale was reserved for subject matter of great importance, such as royalty or religious figures. Artists, striving to abandon academic techniques and conventional styles, rebelled by choosing this large scale or to make a statement about the working class. Perhaps Rousseau was following suit by depicting a simple female nude in the jungle, lacking in traditional importance. However, since Rousseau’s dream was to be revered as a great artist of his time, he may have simply been copying the choices of other artists to gain a sense of belonging.
	The attention to detail within The Dream is another interesting window into Rousseau’s struggle, especially for a painting so large. He depicts his imagery extremely realistically, albeit with his own stylized flair. 
	The woman, a central focal point to The Dream, reclines in a classic fashion upon an elegant couch. Her calm expression and relaxed pose is reminiscent to countless works of art featuring naked women at rest that may have influenced Rousseau. Thus, many might think that he merely includes the woman to conform to his interpretations of what others would appreciate or makes art revered. On the other end of the spectrum, some might simply think that the inclusion of the woman in a jungle reflects his other mentality: the need to include his own unique approach to become respected by the art community. If one were to study further, however, a different interpretation comes forward.
The resemblances between The Dream and Felix Vallotton’s painting, Models at Rest, is extremely striking at first glance and upon further evaluation: in both, a nude woman reclines comfortably on a plush piece of furniture with body turned and exposed towards the audience while facing in profile. 