Painting Corot is infinitely expressive. He created his own style, which was later imitated by dozens of his contemporaries. Almost any of his paintings due to freedom and simplicity of execution looks like etude; but behind this ease hides a harmonious construction. In the Hermitage landscape, branches of trees part, revealing a distant view of the lake; a clear balance of the dark wings of interwoven branches and a light oval lumen creates an almost classical composition in harmony.
The paints of the picture somewhat darkened and lost the original richness of the transitions of that silvery-gray tone, which was a remarkable coloring achievement of Corot. But this did not destroy the effect of a gradual increase in luminosity from the edges of the canvas to its center: almost black silhouettes of trunks and a dense shadow gradually give way to ever more light contours of branches, more and more transparent masses, the forms seem to dissolve in the expanding light flux, does not end with the appearance in the distance of a quiet village on the shore of the lake.
This, the most poetic, part of the canvas appears as a natural ending to the whole lyric line, as the embodiment of what Koro sought in every landscape – harmony, picturesque freedom and sincere freshness of feeling. The painting entered the Hermitage in 1925 from the Yusupov Palace Museum in Leningrad.
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