Remington employs here, as in the Boathouse at Ingleneuk, his version of Impressionism. He combines patches and strokes of color to suggest, rather than to define precisely, the woodlands surrounding his island studio with the light falling between the trees. As a 1907 writer pointed out: "For a true nature-lover the place was ideally located." Not unlike the French Impressionist Claude Monet at his home and studio in Giverny, Frederic Remington embedded himself and his art in nature when working in his island summer atelier. This picture might be regarded as both topographic representation and metaphorical self-portrait.
Within this bucolic workspace, Remington would focus on finishing paintings that he had brought with him from his New Rochelle studio. His diary is filled with comments chronicling his progress and his struggles, such as: "worked all day on 'Stranger' and 'Stampede'," "I got blood in my eye [combative anger] and came down to studio to conquer or to die. The 'Lost Warrior' was feeble and I went at it and after a terrific encounter I put some guts in it. I think pretty well of it now," and "painted in studio and I have now discovered for first time how to do the silver sheen of moonlight."
This locale also stimulated Remington to depict nature and to explore the possibilities of color and a freer application of paint. His Eastern landscapes offered Remington some respite from the demands of the Western subjects expected by galleries, publishers, and the public, as confirmed in his July 11, 1908 diary entry: "My work that I brought up here is done and I now think I will only sketch from nature around here until September."