He sought for his brother and his wife to pose for him on the beach as grains of sand mixed with paint shows.
Suzanne, his wife, is well protected from the wind by a Muslim shroud and a loose summer dress, is engaged in her book.
His brother, Eugene who is about to get married to Berthe Morisot, is lying in a similar position as ten years earlier in Lunch on the grass looking out to the sea. The composition is stabilized by the two triangles formed.
The two are ignoring spectators and seem to be captivated by their worlds. The seclusion gives on the beach painting an indescribable sad feeling.
On the beach painting is an excellent example of Manet’s painting gift and his ability to commemorate the instant. The warm fawn of the sand is a clear witness of the passage of time while the waves on the shore beat out the measures when you look at them.
Boats in the sea almost reach on top of the painting as they run full sail in the sea. This picture portrays Manet at his best with his subtle shades of gray, and his skillful brushwork, which combined with a few strokes proposes the foam of the waves breaking on the beach.
On top of everything, this picture shows Manet’s extraordinary skills demonstrating his skills. The touches of black and blue gray make the image stand out unforgettable from the background.
The figures would have been sketchy, and wooly were it not for the black and gray touches. The atmosphere shown in this picture is that of relaxation, calm and leisure.
The idea of blacks and grays used by Manet’s on the beach picture was borrowed from the young school a fluid, which offers more suggestions than descriptions. The impression of the picture is powerful especially in the landscape that looks rather sloppy. The colours of the sea vary from dark ultramarine blue to emerald green. The painting offers a great Japanese influence, and it’s considered as one of Manet’s best paintings.