A dense blue silhouette of the Palace of Westminster rises from the center right of the composition, its towers and spires softened and blurred by a thick fog. The river stretches across the foreground, its surface reflecting the shadowy forms and the pale, diffused light that filters through the mist. Two small boats are visible on the water: one near the lower center, with a dark, triangular form suggesting a figure or cargo, and another further back to the left, barely distinguishable in the haze.

The sky is a swirling field of cool blue and violet tones, with hints of orange and yellow emerging at the upper right, suggesting the presence of sunlight struggling to break through the fog. Loose, visible brushstrokes cover the entire surface, blending colors and edges so that forms dissolve into their surroundings, creating a sense of atmosphere rather than precise detail. The composition is dominated by horizontal bands of color, with the vertical emphasis of the central tower providing a dramatic counterpoint.

The upper left corner of the painting is filled with a pale lavender haze, with no distinct forms visible in this area. A faint horizontal line runs just above the lower edge, separating the water from the foggy bank in the background. Subtle streaks of orange and yellow are scattered along the right edge, blending softly into the blue and violet sky.

The leftmost boat is accompanied by a faint, elongated shadow in the water below it, rendered in a slightly darker blue. Broken, wavering brushstrokes in the lower right corner suggest gentle ripples or movement on the river’s surface. The blue silhouette of the building extends nearly to the top edge, where the tallest tower’s form becomes more diffuse and merges with the sky.

Thin, vertical strokes of paint along the palace’s outline create a jagged, irregular edge that contrasts with the smoother horizontal layers of water and sky. The Metropolitan Museum of Art lists the work as dating from 1903–4 and credits its acquisition to the bequest of Julia W. Emmons in 1956.