Up to 1948, Soshana remained faithful to a compact, colorful and expressive Social Realism. In these early paintings, figures are modeled roughly with a few broad brush strokes without any detail; landscapes and citiscapes always open up to the beholder from a slightly elevated point of view. The scenes appear mostly in a neutral light, with neither houses nor figures casting shadows, yet these landscapes with the saturated application of colors, exude an almost cheerful mood, which can be interpreted as an echo of Fauvism.[35] Soshana's paintings of European Alpine landscapes, which she began creating upon her return to Vienna in 1951, already show her first steps into Art Informel.[28]