Mednyánszky knew contemporary art fairly well: he was in touch with French, Dutch, Austrian and Hungarian artists visiting Szolnok. His individual style and eccentric character prevented him from being influenced by any of them. He managed to retain his originality and peculiar style all through his life. During periods of restless wandering, influenced by his changing mood, he painted a variety of landscapes during his career. He observed everything thoroughly, he registered values of colours, characters of what he saw, analysed the psychic and physiologic influence of colours, the atmosphere of the landscape and his own mood. "The earthly or realistic basis of impressions is to be limited," was a sentence recurring in his diary and, accordingly, his works radiate the atmosphere of timeless existence besides the observed landscape, and they become visions.
It is well-known from his biography that he spent the summer of 1893 in the High Tatras and went on excursions there. The picture probably comes from that period. Plein air traditions inherited from the French was impregnated with a peculiarly individual mystique taking the artist to the immediate vicinity of symbolism. His diary from 1895 contains the key to the peculiar world of colours present in Landscape in Dunajec: "of all mixtures and colours, yellowish and brownish mixtures of red have the most exciting sensual effect." He spent longer times by the river Dunajec where he painted pictures portraying menacing forces of nature.