The composition is typical of Murray; other examples are Mangolds, exhibited at the Royal Academy in 1891 (repr, Royal Academy Illustrated, 1891, p.34) and Swedes, his R.A. Diploma work of 1905. Like this, the picture 'falls recognisably into that category of his work which treats as its subject the broad skies of the English lowlands. Although of Scottish Highland extraction, Murray was never more assured in his painting than when depicting the flat landscapes of East Anglia, employing a daringly low horizon and filling almost two thirds of his canvas with sky ... The viewer seems to be standing at the edge of a great field and the overwhelming impression is of the blending of the various colours seen amongst the crops....The essence of Murray's vision .... was to discover beauty in the most ordinary of English landscapes' (The Edwardians and After, exh. Royal Academy, 1990, cat. p.127).