Several times during the trip, the two artists drew/painted the same motif seen from slightly different angles, as is so nicely illustrated in a drawing by Skovgaard on the first day of the trip on 29 May 1843, where the pair made a stop at Dronningmølle. Here you see Lundbye sitting on the far left in a landscape with his characteristic high hat and his back to the viewer, half-hidden in a grassy dune, deeply concentrated and bent over his drawing pad in the process of drawing the same landscape seen slightly more from above. The following year, Skovgaard painted a larger oil painting with precisely this motif, but without the figure of Lundbye (National Gallery of Denmark Inv. No. KMS448).

In the foreground and to the left in the present painting, a dark, condensed thicket at Sandgraven in Vejby is depicted in great detail – a corner of a house can be glimpsed to the left through the trees. This dark, detailed “sous bois”-like density opens to the right out towards an open sunlit landscape characterized by the contours of a classic slightly hilly Danish landscape – more specifically the beacon hill of Ørby Bavn. The view towards Ørby Bavn – without the same dark forest-like foreground as with Skovgaard – is also known from a drawing by Lundbye dated 22 July 1843.

Gertrud Oelsner and Karina Lykke Grand write in the introduction to the book “P.C. Skovgaard - The Danish Golden Age Reassessed” (2010, p. 14): “But a dominant leitmotif is repeated in his oeuvre: the attention to the nature of the landscape in the smallest detail, as well as in the distant views”. This work is a very fine and small representation of this leitmotif with both the fine details in the dark forest of the foreground, which Lundbye admired Skovgaard so deeply for (see the quote below from Lundbye's diary) and the bright sun-drenched, wide landscape that opens up into a distant horizon – the near and the far – the closed and the open. This also relates to Vejby as Skovgaard's childhood home and represents the closeness in both a geographical and family sense. "... the microscopic close-up of a home’s confidential motifs…” (2010, pp. 14–15)

In his diary on 13 April 1844, about a year after the trip took place, Lundbye writes about Skovgaard, the painter’s significance for Lundbye, their friendship and Skovgaard as an artist: “Since Frølich left about three and a half years ago, Skovgaard has been my closest companion, and as an artist, he has had a profound influence on me, as I to a great extent feel a veneration for his opinion on many a thing. His temperament is quiet and deep, serious and withdrawn; only to his friends does he express himself freely and unreservedly, but then he reveals himself to be, just as I am myself, quite an emotional man; “....” He is at home in the nature of the forest. True and natural, he provides our woods with character, and I know no one of our painters who can compare to him in this aspect – perhaps Buntzen, but he goes into too much detail and becomes petty.“ Lundbye continues on 14 April 1844: ”Therefore, he is in my view one of our most talented artists, with a deep, noble temperament and a warm enthusiasm for all things patriotic.”