The way Munkácsy looked at his subject matters can be clearly discovered in the present landscape showing features which make it related to the reality of tone of Courbet. Although clumsy features were characteristic of both, it never appeared in Munkácsy's pictures except for landscapes. With a heroic romantic attitude, he tried to catch motifs of greatness and attempted to express drama. Light is reflected on the surface of the water already approaching plein air landscape painting. He scanned landscape and buildings hiding in nature with the dynamic brushwork of a male artist: he is staring at the beauty of nature. As in the majority of his landscape, there is a staffage-like figure in the foreground: it was necessary to place him there in order to create a pantheistic unity with pompous nature. Instead of analysis, a synthetic treatment dominates the picture like many others of his. The subdued atmosphere matches the melancholy mood of Munkácsy, his inclination to depression. Munkácsy appears to be keener on portraying elements of atmosphere of nature than the objective world, this is why he was not attracted to impressionism and developed an intimate friendship to László Paál.