Metcalf’s use of pointillist strokes to suggest falling snow—the “veil” of the title—and the soft tonalist palette made this one of his most popular paintings, much praised by contemporary critics and art lovers alike. The square shape of the canvas adds to the sense of quiet and serenity that Metcalf sought in his work. Blue violet underpainting dotted with red unifies the composition and lends an unexpected warmth to the gray winter light. Metcalf spent the first of many winters in Cornish, New Hampshire, in 1909. This painting is one of two nearly identical canvases with the same title painted during this period.