It functions as a warm middle tone under the transparent darker layers and lighter colors thinly scumbled over it, as at the center left where the mass of reeds is indicated by a thin greenish yellow layer over the ground tone, with a sketchy definition of individual stalks. The large forms of the dark trees and earth in the foreground were applied first, followed by the sky and the distant landscape, with details, such as the smaller trees, the reeds, the figures, and the final definition of larger forms painted over the landscape and sky. Extensive pentimenti are visible, primarily in the trees. The fabric has widely spaced cusping along all four edges. There are scattered losses throughout, with the sky and background exhibiting considerable abrasion and numerous small losses.
Losses are also concentrated in and around the central tree.
The painting was relined, discolored varnish removed, and the painting restored by Stephen Pichetto in 1948. Discolored varnish was removed and new inpainting was carried out by Teresa Longyear in 1985-1986 to reduce the confusing patterns created where the red ground showed through the abraded greens in the foliage and in the sky and water.