The following is an excerpt of the letter to Theo on 26 Aug 1882, in which he was talking about the seascape painting in the program.
“It’s been so beautiful at Scheveningen the last few days. The sea was almost more imposing before the storm than when the storm actually arrived. During the storm the waves were less visible and there was less the effect of furrows of ploughed land. The waves followed each other so quickly that each pushed the other aside, and the collision between these bodies of water produced a sort of foam like drifting sand that shrouded the foreground of the sea in a haze. But it was a nasty little storm — all the nastier — and all the more impressive the longer you looked, because it made so little noise. The sea was the colour of dirty dishwater. At that spot there was a fishing-boat, the last in the row, and several dark figures.7 There’s something infinite about painting — I can’t quite explain — but especially for expressing a mood, it’s a joy. In the colours there are hidden harmonies or contrasts which contribute of their own accord, and which if left unused are of no benefit. Tomorrow I hope to be able to go outdoors again.”
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