The painting shows the stream of the Triglavska Bistrica meandering from the village of Mojstrana to the glacial valley of Vrata which leads to the Northern Face of Mt Triglav. In the picture we still see the glacier that has since almost disappeared. The landscape (of decent size) still hardly manifests the Biedermaier attitude, the only tribute to the past remains the panoramic balcony with a plot of red soil, a rock and the almost Baroque tree composition.
The painting can be divided into six spatial planes. The first four are linked by a uniformly rendered trees or greenery in dark green colour, while the mountains and the sky share white-blue of the atmosphere, clouds and snow. Karinger also played with the depth that colour layers create; neoclassical painters in the end “enlivened” their polished paintings with a thin layer of more frivolous colour emphases and contours, while in Karinger’s painting our attention is directed to the trees, fields, and screes, rendered with simple strokes or dots. Karinger most likely transposed the approach to the canvas from the drawing. For example, in his Motif with Trees and Spring (NG G 163) he accentuates water, rocks and the branch with dark hatching or dots which have a distinctly two-dimensional effect and differ from the hatching in the remaining part of the drawing.
Karinger's modernist studies predate those by Austrian landscapists, among others the examples by Anton Romako, the precursor of Viennese Expressionism. Karinger’s relaxed and experimental manner can be ascribed to frequent study trips, familiarity with the developments in German cultural centres, and material independence.