In 2022, art historian Katalin S. Nagy published a monograph on Imre Szirmai's painting in which she wrote: ‘Anyone who observes the beams of light, the variations in colour, the brushstrokes, has no doubt that Szirmai is a painter, regardless of his profession or public office.’ Most of Imre Szirmai's paintings are landscapes, some of which have a distinctive post-impressionist touch. He himself reveals about his style: ‘My style is conservative - I paint what I like’. He chose to paint landscapes that triggered emotional and spiritual processes in him and from which he draws inspiration for his works. In many of the paintings, the specific landscape or part of the city can be identified exactly, but the painter's distinctive approach is evident in each one. His way of seeing and painting sometimes seems a little surreal, as in Vinha no Douro, or nostalgic, as in Amarante. He painted landscapes that, in truth, reveal the painter who captures that landscape, and as Katalin S. Nagy puts it: ‘it also forces us, the viewers, to stay connected to the painter with an open mind, and with our own experiences of the landscapes. The work created is not a copy of what is seen, but a vision of the view, a new entity, a new unity, another reality.’