Bogdanove may well have known the Monhegan images of Henri, as well as those of John Sloan, George Bellows, and Rockwell Kent. Indeed, his method of painting directly on panels fitted into the lid of his paint box parallels that of Henri. Bogdanove's frequent use of vibrant yellows, oranges, and blues evokes Kent's style, while the physical strength of his brushwork is similar to that of Bellows. Bogdanove may also have drawn on his knowledge of the seascapes of Winslow Homer, who had portrayed wrathful waves assaulting leaden rocks while living at Prout's Neck, Maine, at the turn of the twentieth century. In a number of works, Bogdanove used Homer's strategy of conveying the force of the sea and the resistance of rocks by positioning the viewer at a low vantage point behind rocks, directly confronting a pounding wave.

Bogdanove had begun to receive renown for his Monhegan views by 1920, when his first solo exhibition was held at the Young Men's Hebrew Association in New York. Shortly thereafter, his Maine images began to be shown at annual exhibitions at such institutions as the National Academy of Design, the Pennsylvania Academy of the Fine Arts, and the Carnegie Institute. In 1930, an exhibition of Bogdanove's marines was held at the Lamson and Hubbard Gallery in Boston.