A very slight and loosely rendered drawing, Turner scholar Eric Shanes writes that it bears stylistic similarities with other ‘colour beginnings’ and may have even been produced ‘during the same working session’ (see Tate D25383, D25393, D25410, D25422, D25426, D25437; Turner Bequest CCLXIII 260, 270, 287, 299, 303, 314).1 Shanes also proposes that the view is related to a colour study of Folkestone (Tate D17760; Turner Bequest CCIII C).
Turner’s rendering of form is free and fluid. The dilute pigments of the headland merge with those of the sea. Boats on the shore are swiftly articulated with just a few brush-strokes, two fine vertical strokes suggesting their masts. The spontaneity of Turner’s draughtsmanship is made manifest here, the mark making minimal and yet fully evocative of form and atmosphere.
Shanes 1997, p.61, no.43.