While in the early 19th century and even in the art of Károly Lotz, the swing pole was the most important element to organise space in landscapes of the Hungarian Plain, haystacks, shelters of field guards and shepherds took over this role by the late 19th century. Besides groups of farm buildings scattered in the plain and some scrubby trees, there was not any object to rise above the horizon. The first painter who painted pictures on rather poor subject matters in an unconventional way was Lajos Deák-Ébner whose sketches of around 1875 Aggházy may have seen when he decided to settle down in Szolnok in 1876. Aggházy whose name and art are forgotten met with a lot of success mainly as a genre painter. This is why Mihály Munkácsy welcomed him to work in his studio in Paris. Aggházy, however, did not sympathise with art full of drama: he wanted to paint the bright side of life in genre pictures and landscapes.
Being an unbiased observer of the Hungarian Plain, he did not degrade the strength of colours as was usual in Europe at that time. Instead, he attempted to reproduce the freshness of bright green grass and the airiness of the cloudy sky as accurately as possible. Highly simple subject matter and composition, superb perspectivity and pastose style indicate that Aggházy continues plein air which Szinyei Merse started with his early sketches or Mészöly with his picture Szigetvár of a similar construction.