Corot’s later paintings, like this one, often depict trees with a great degree of movement as if they were informed by long exposure photographs such as the one to the right by Chauvassaignes. Corot was close with several of the photographers that worked in the forest including Eugène Cuvelier and his father Adalbert Cuvelier. Adalbert introduced Corot to the cliché-verre process (see the work to the left of this painting) and they worked together making photographic prints from drawn glass plates. Corot became a good friend and mentor to the younger Cuvelier. When Eugène married the inn keeper’s daughter, Corot was the witness to the marriage.