空には夕立雲が低くたれこめ、遠景の山の方では雨が降り始めています。中景の釣り人の着物の白、近景の女性の手拭の白がそれぞれ薄暗く湿った空気の中に浮かび上がるようです。このように、点景として描かれた人物の存在が清方の風景画の特徴であり、清方自身も「生活をもつ風景」（「そぞろごと」『鏑木淸方文集 一 制作餘談』）にこそ制作欲をかきたてられる、と述べています。空や山、海などの描写には、にじみやぼかしの技法が用いられ、風景画において様々な試みをする清方の姿勢がうかがえます。
金鈴社の同人には、南画や西洋画、大和絵などの研究をもとに風景画を描く平福百穂や結城素明、松岡映丘がおり、当時風景画を好んで制作していた清方に影響を与えました。

Evening Shower Clouds (1922)
color on paper; framed
45.0 x 68.9 cm
(First exhibited at the 7th Kinreisha Exhibition)

Evening shower clouds hang low in the sky and the rain has started to fall over the distant mountains. The white garment worn by the fisherman in the middle distance and the white cotton towel of the woman in the foreground appear to emerge out of the gloomy, damp air. The presence of such incidental figures is characteristic of Kiyokata’s landscape paintings. Kiyokata himself said that “landscapes with life” aroused his desire to create (“Sozorogoto” [Random remarks] Kiyokata bunshū I—Seisaku yodan [Collection of writings by Kaburaki Kiyokata I—Digressions on painting]). The use of blurring and shading techniques to depict the sky, the mountains, and the sea provide a glimpse of Kiyokata’s approach of trying out a variety of techniques in his landscape paintings.
At a time when he enjoyed producing landscapes, Kiyokata was influenced by colleagues in the Kinreisha, including Hirafuku Hyakusui, Yūki Somei, and Matsuoka Eikyū, who painted landscapes based on their research on the nanga tradition inspired by Chinese literati painting as well as Western painting and yamato-e.