Angelos Theodoropoulos uses strong geometric volumes in order to render the entirety of this particular wooded composition, partially demonstrating his Cubist stylistic influences during this period. On the first level of the landscape, the artist captures two trees with the right one (according to the viewer) overlapping the left one. Approaching more carefully the foliage of the right tree with its two offshoots, we can see their performance with purely geometric volumes, without realistic details, a stylistic approach that reminds us of influences from the corresponding creations of Parthenis of the late 1910s and these decades of 1920. The artist tries to give the composition a contrast with the depiction of the left tree, as its foliage is not so dense and voluminous. To the left of the first-level stand of trees unfolds the rest of the wooded landscape, which in perspective extends up to a mountain mass. The use of a contrasting scale is characteristic in the composition of Angelos Theodoropoulos if you carefully examine the tree on the left of the composition, which is rendered on a smaller scale (albeit with richer foliage), while these are rendered more conventionally as the composition progresses in depth. The viewer’s gaze may also focus on the arched white line that crosses the mountain mass horizontally, thus marking a small path. Finally, to the left of the massif, a second one is depicted, at the top of which trees are rendered in a conventional manner, overlapping the first one.