The artist depicts an elegant female figure sporting a green overcoat and a hat, seen from behind as she walks down a thickly wooded, snowbound avenue. Ahead of her, a boy plays with a sledge. This picture, almost a revelation, unfolds before us in a natural wonderland, the trees all around almost appearing to come alive.
Despite the work's seeming simplicity, it is difficult to find a specific subject for it. Rather, what the painter seeks to convey is a concept, a sensation. The overriding sensation that emerges from this astonishingly communicative picture is the enchantment of nature. Even the paper the artist uses ceases to be a mere material support and is transformed into a kind of cave surrounded by stalactites from which there suddenly emerges an immaculate, untarnished scenario in which the colour white is used in a symbolic fashion.
Fidus endeavours here to equate nature with paradise, conjuring up a sacred grove in which his figures move in frozen time. He conveys a sensation rather than a specific subject – an approach typical of the Symbolist art of the period. The watercolour is in fact Symbolist even in its title, a title chosen by the artist himself when he wrote bottom left: Eisige Lenzprächte, which can be translated as "frozen wonders of spring", a setting in which two simple figures in a landscape are transformed into a sophisticated game.