During Skovgaard's stay on Møn in June 1850, the artist maintained a lively correspondence with his future wife, Georgia Schouw. In his letters from Møn, the artist writes a lot about the weather, which in some cases keeps him from painting outside. Among other things, he writes on 11 June (the day before the present painting was created) (in Danish): “The weather has been rather unfavourable, but I can still use the time, and if the weather will just remain nice, then I hope to come home with a fine result, otherwise it will only be so-so. I have seen several lovely motifs or images, but there has to be good weather for it to be possible. In this flickering sunlight everything looks trivial, but I use it to prime. In the morning I like to work on the Sommerspiret (the Summer Spire) and the Maglevands Fald (waterfall), and in the evening, I enjoy sitting under the Slotsgavlene cliff. If the weather permits it, I also feel like painting Vitmundsnakke.” (Correspondence between P. C. Skovgaard and Georgia Schouw belonging to the Skovgaard Museum).

However, it does not seem as if a significant improvement in the weather takes place in the following days, and on Sunday 16 June he continues to write (in Danish): “The weather is like last night, and since it has been this way for a long time now, it is all a bit heavy to bear. It [has] only been really good weather in the morning on 3 June – not a single beautiful evening. I fear that it will prolong my stay here. However, it is not an option to go home with an unsolved challenge, and I think the weather will change for the better, it is after all the summer we are in […]”.

The many different sketches and studies that Skovgaard carried out from the beach at the Cliffs of Møn culminated in the monumental work “Parti fra Møns Klint” (View of the Cliffs of Møn) from 1852, which measures 126×190 cm and is located at Fuglsang Kunstmuseum (Inv. No. 2008/4), acquired at Bruun Rasmussen auction 795, 2008 no. 31 for a hammer price of DKK 800.000.