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It is not only in Vlaminck's still lifes, but also in some of his landscapes, that one can see the sometimes intuitive, sometimes direct confrontation with Cézanne. It was painted in 1913 in the southern French port of Martigues, near Marseilles, where the painter was staying with Derain that year. By this time, Vlaminck had long abandoned Fauvist painting and had also ended his Cubist experiments. However, links with Cézanne's painting remained.

In particular, his treatment of space is reminiscent of Cézanne: Vlaminck divides the picture horizontally into areas that build on each other, from the foreground to the centre and the background. The horizon itself is raised. To the right, the scene is optically open, the building cubically stylised. The painter also used a different palette, more naturalistic and earthy than the strong colours of the Fauves. The paint is applied very thinly, but with a rhythmic brushstroke. This painting, on loan from the Tate London, is one of Vlaminck's few depictions of the sea.