In the early summer of 1894, Gauguin left Paris where he had been since his return from Tahiti a year earlier. Travelling westward he returned to Pont Aven visiting Concarneau with Roderic O'Conor, Armand Séguin and others, where his leg was then broken in an altercation. Unable or unwilling to paint, he turned to the smaller and more easily managed art of woodcut and watercolor transfer monotypes.
In this example, he took a watercolor, wet it and then applied a sheet of Japon to the front which he then rubbed the back of to create a transfer.
Field makes comparisons between the composition of Les Chaumières and three paintings of the Breton subjects of 1894, Ferme en Bretagne I and II (Wildenstein 526-7) and Le Moulin David (Wildenstein 524).