The fishermen collecting seaweed look like dancers in a choreographed routine as they use large rakes to pile up the heaps of pink seaweed on the beach. The stylised figures and formal elements, clearly delineated with dark lines, consist of pure areas of colour without any form of modelling. This painterly method, following the style of Paul Gauguin among others, is characteristic of many of the works by the Nabis, the artists' group of which Sérusier was a co-founder. The central perspective, too, is sacrificed to a decorative overall impression: this small-format picture, painted in Brittany, has no horizon, but the sea and beach are shown as vertical surfaces.
Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.
The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.
Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:
The successive ownership records are separated from each other by a semicolon.
Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.
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Art-technology findings and/or documentation regarding conservation and restoration are available for this work. If interested, please contact .