This is a rare work in Konrad Mägi’s oeuvre, in which human figures are integrated into the landscape. As a rule, Mägi never depicted humans amidst nature and if the presence of people could be sensed anywhere (such as Neapolitan park views) it was merely as a compositional and colour-related nuance. In this case, though, the two female figures on the painting are brought into the foreground and have been promoted from mere marginal notations to playing a central role.

At the same time, the holiday-makers never come to define the meaning of the painting. Their faces cannot be seen – one’s head is turned, we only see the eyes of the other – and thus, they have been stripped of their psychology and have been reduced to fulfilling a certain illustrative function. Although a certain melancholy and remoteness can be gleaned from their attitude, it has not been separately emphasized, either. A sort of picture frame of plants forms around them, creating a picture-in-picture effect, where both figures become a part of the second painting within the first – the psychologically laden characters turn into illusions instead, imaginary protagonists in the middle of a somewhat enchanted atmosphere. The latter is emphasized by the clouds visible in the distance, which lend the work an unreal atmosphere and make the painting even more fantasy. Thus, it cannot be certain that Mägi painted anyone specific, such as his fellow holiday-makers from the Siuru group (who included Marie Under). The painting was painted on Saare Farm on the southern shore of Pühajärv, with Kloostrisaar Island (on the right) and the Lepasaar Islands (on the left) in the distance. Despite these realistic details, this work can be seen as having one of the most dreamlike textures in Mägi’s oeuvre.

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