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Superbly clear lines in a linear perspective lead the eyes in to the frame. The similarity of elements in the foreground and constancy of optical movement transfers the visual importance to the center. Very powerful 3-D effect.

Exaggerated perspective is visually effective and conducive. The motif on the foreground ( the bench ) is unfortunately ' hanging there between ' leveling' and 'sharpening'. It's an indecisive composition ( Gestalt Leveling/Sharpening )

putting the eyes under pressure to subconsciously find a solution for the problematic composition either to move it dead center to levelize or to move further right to the golden mean to sharpen.

The sum of all lines and the overall orientation is toward the center where in the distance a portion of conspicuous mountain is framed between two from left and right in what is called Harmonic composition. The contour lines of the profiles of the mountains on both sides provide conduction of the optical movement and contribute to the visual flow.

The sky is overcast with vast tonality range and good texture. There is a sort of uneasiness sensed there since the orientation of the cloud movement diverts the visual path a bit to the right while the eyes tend to reach tranquility and stability in the center. I sense disturbance clashing with calmness, movement Vs. stagnation.

he foreground lines are very conductive visually, but the exaggeration of the length absorbs a part of visual importance and keep it here in the foreground, not letting it wander freely in the frame to get satisfied visually. Moving in one direction of the elements is referred to as ' the principle of common fate in Gestalt mental perception.

The constriction of tonality range in the foreground is in contradiction with the tense tonal range in the clouds.

The space and scale are very ell envisaged letting me sense the grandeur of the scenery as if by my own eyes.