Though apparently abstract, this painting represents a lane at Sandy Haven, Pembrokeshire. By ‘paraphrasing’ what he observed, Sutherland felt he captured the essence of the landscape. This innovative technique fused the observational powers of John Constable with the daring of Pablo Picasso.The prominent black forms also reflect Sutherland’s debt to the landscape drawings of Samuel Palmer, whose work enjoyed a revival in the 1930s. This painting belongs to a tradition of images of wooded landscapes which seem to enfold the viewer. In 1939, with war looming, such a natural refuge may have had special significance.