In Dresden, Carus was in dialogue with Caspar David Friedrich, with whom he sketched on hikes together, and with Johan Christian Dahl, where he saw more realistic tendencies and oil sketches. A cottage garden - of which we only see the gateposts - was not considered a motif worthy of painting around 1830. Yet Carus composed and observed the scene with care: the landscape is built up in three pictorial grounds, plants such as blackberries or yarrow are recognisable despite the swift brushstroke. And the glaring light before a thunderstorm approaching from the left is also precisely rendered.