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The artist was helped in developing his own artistic concepts by his acquaintance with Ernő Kállai in 1936. The influence of Kállai's explications on science exploring the hidden side of nature can be detected in a group of drawings of Fekete Nagy's, and the drawing entitled 'The Kőhegy of Szentendre' belongs to this group of works. Thus this drawing marks the first appearance of a new type of nature-view and landscape-depiction.
The intensified, pronounced manifestation of motifs that carry the structural aspects immanent in the landscape vision has been present in Hungarian art since activism appeared. Although this work by Fekete Nagy is related to this tradition, it significantly differs from it, too. In this landscape portion glanced at from a bird's view the man-made elements, i.e. streets, houses, cultivated lands are united in an organic structure with the more eccentric forms of nature, the undulating countryside and crested ridges. But the organic structure taking form this way grows independent of the original spectacle in a careless moment and through a strange metamorphosis takes the shape of a lively micro-cosmos studied closely under a magnifying glass, which generates a series of associations in the viewer of the picture. As if a large snail never seen before advanced slowly before us, or as if the whole world rested on the leaf of a strange plant. Simultaneously a non-figurative composition arranged by its own laws is also born. This playing with the macro and the micro worlds, the shifting of one into the other, and the ambivalence and permeability of reality built from the inside toward the external and at the same time from the outside toward the internal, are common characteristics in many surrealistic paintings, however it is not the subconscious that plays the main role here, instead it is nature that plays nasty tricks, questioning man's stable position in the universe.
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