Except for landscapes of Ramsau which Mészöly painted during his Vienna period, he devoted all his life to painting landscapes of the Great Hungarian Plain and Transdanubia. Even while in Munich and Paris, he was engaged in details of Lake Balaton and the river Tisza. His excellent sense of colours and forms, and lots of sketches and studies helped him achieve a realistic effect. During his stay in Paris, he made only very few sketches in Le Havre and Honfleur. It is unfortunately not known whether he was aware of the fact that Honfleur was one of the cradles of impressionism some twenty years before. On his return, his financial situation changed for the better, he got married and spent his honeymoon in Venice.
Lido turned out to be the most modern of his pictures. A series of laconically simple pictures from 1871 onwards was thus made complete. Instead of decorations, he painted earth, water and air, the three elements, with dynamic brushwork, as he saw them, proving his great skills of portraying atmosphere. The impressionistic character of the picture was probably founded on his previous months in Paris, but it followed from his personal attempts, too. His brushwork, transparent and light, rhymes with Boudin's post-impressionism.