Fecamp (2)

A second view of Fécamp in the Radishchev collection confirms that Bogolyubov approached this Normandy port systematically, producing multiple canvases that explore its harbour from varied angles or under different light. This practice of serial study — returning repeatedly to the same motif — was characteristic of the plein-air tradition Bogolyubov absorbed during his Paris years and reflects an approach later associated most famously with Monet's series paintings. For Bogolyubov, however, the motivation was partly professional: as the official painter to the Russian Admiralty's records division, he was expected to document maritime scenes with thoroughness. The Fécamp studies sit at the intersection of this professional obligation and his genuine aesthetic interest in Normandy's coastal atmosphere. That two views survive together in Saratov suggests he brought them back to Russia as a pair, either for exhibition or as reference material for larger compositions executed in the studio.

Like its companion view, this oil on canvas demonstrates Bogolyubov's efficient plein-air technique. Brushwork is direct and purposeful, building up harbour forms with a confidence born of extensive outdoor practice. The tonal key is close to the first Fécamp view, suggesting the works were made in comparable conditions.