Together with Marianne von Werefkin, Jawlensky lived in Munich as of 1896, where he attended Anton Azbé's painting school before he set out on a quest for his own style. In the following years, he traveled extensively, both within Germany as well as abroad. On his journeys he painted a lot and met other artists at exhibitions, consciously looking for the possibilities of a personal form of expression. In 1903, he visited France for the first time. In his memoirs, he mentions two stays in Carantec, however, only one stay in the Breton village on a peninsula north-west of Brest in 1906 is reliably documented in Jawlensky's letters. The works created there all show the strong impact of van Gogh's art on Alexej von Jawlensky. Directly influenced by his brushwork, he experimented with the multitude of creative possibilities short brushstrokes had to offer. While Carantec is known for its beautiful beaches today, the few paintings by Jawlensky that can be clearly ascribed to the Carantec period, show that Jawlensky primarily absorbed and processed other impressions. It was the landscape and not the sea that he put focus on. The motion of light and wind in the fields, plants and clouds takes center stages in his depiction. Within the small group of works created there, our painting stands out like a solitaire. It is characterized by a strong emotional value. The subtly placed brushstrokes no longer make for order and structure of the composition, instead they create the greatest possible expressiveness. It is a brilliant display of exuberant forms and colors with which Alexej von Jawlensky eventually made the decisive step in conveying feelings through color. [EH]