A photo-certificate from Franoise Cachin dated Paris, 17 December 1997 accompanies this painting, which will be included in her forthcoming Signac catalogue raisonn.
Both Signac's style of painting and working methods changed considerably within the first two or three years of his settling in Saint-Tropez in 1892. He turned away from a precise pointilism, his brushstrokes gradually became larger and less systematic, his color richer and more harmonious. He found that the intense light of Saint-Tropez made everything around him appear white and luminous, and consequently he abandoned his strict analytical approach to color.
Signac willingly sacrificed perspective and realism for the bright luminosity that he acheived with his new technique. In his own journal he wrote, "I attach more and more importance to purity and intenisty. It is this love of true color that makes us paint in this way, and not the dot" (quoted in "Journal de Paul Signac," Arts de France, 1947).