In 1896, Henry Moret moved to the fishing village of Douëlan, Brittany, twelve miles from the artist colony of Pont Aven. He settled in an old guardhouse on a cliff with incomparable ocean views. In Marine Douëlan, Bretagne, he has depicted the entrance of the town’s harbor. In the foreground, a local fishing ketch with the distinctive red sails of the region, enters of the rocky headlands of the bay, followed by the rest of the fleet. Moret depicts the rocky outcrops and ocean swells with dense, lively strokes of blue, red, green and lavender while his delicate application of pink and blue pigment on the horizon line evokes the approach of sunset.
In addition to painting his immediate surroundings, Moret continued to paint views of other Brittany towns and coastal sites, including the Bay of Pouldu and Pont Aven. Despite his cottage's relative isolation, Moret remained in contact with Maufra and Loiseau and continued exhibiting his works in Paris. Just around the time of settling in Doelan, Moret's art - a combination of Impressionist handling of the paint and the subjective treatment of color- reached its maturity. Moret's masterful combination of both Synthetism and Impressionist theory marks his oeuvre as a unique bridge uniting two disparate artistic trends of the Pont Aven movement.
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