拍品專文
"For the first time since 1905 Braque spent part of the summer of 1929 on the Normandy coast where he had been brought up and had lived as a young man. Braque had given up his Provençal house at Sorgues after 1926, and had spent the next two summers at various places in the south including La Ciotat, where he had painted some of his Fauve pictures back in 1907. His return to Normandy was propitious, for it signalled a renewal of interest in landscape (he had not tackled a landscape since Céret in 1911), and a new receptivity to the light and colour of the countryside, banished from his paintings since the early Cubist days.
The moist silvery light of the Normandy coast, its cliffs, broad beaches and clear horizons which had meant so much to Boudin and Monet, now began to exert their appeal on Braque - tinged doubtless with a certain nostalgia. In 1931 he moved into a house specially designed and build for him in traditional Norman style at Varengeville, near Dieppe, and it was here that Braque spent much of the remainder of his life. But already on his first return visit to Dieppe in 1929 he had begun what was to become an infrequent series of small beach scenes (Boats on the Beach, Dieppe [the present painting] is among the earliest) spread over the remaining decades of his life. (E. Mullins, op. cit., p. 121.)
The moist silvery light of the Normandy coast, its cliffs, broad beaches and clear horizons which had meant so much to Boudin and Monet, now began to exert their appeal on Braque - tinged doubtless with a certain nostalgia. In 1931 he moved into a house specially designed and build for him in traditional Norman style at Varengeville, near Dieppe, and it was here that Braque spent much of the remainder of his life. But already on his first return visit to Dieppe in 1929 he had begun what was to become an infrequent series of small beach scenes (Boats on the Beach, Dieppe [the present painting] is among the earliest) spread over the remaining decades of his life. (E. Mullins, op. cit., p. 121.)