Technique and condition
This work is painted on 3mm untempered hardboard, primed white, then painted on with several layers of oil paint. First applied paint was greatly thinned. Where visible, for example around the graphite signature, bottom right, the dilute paint can be seen to have puddled around hairs and other debris in the paint. Most applications of paint were thin, allowing the white from the primer to enhance the luminosity of the colours scumbled on top. In places, notably the sky, more neutral coloured paint covers richer hues. Many of the brushstrokes appear to have been rapidly made. The last paint applied depicts posts and figures.
Presumably once dried, the painting was trimmed, with board being removed from the top and right edges. Both these edges are free from white primer. The back has a painted inscription including date artist's name and title on the back…
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