The markedly horizontal format of this piece, whose width nearly triples its height, accentuates the panoramic feel. Both the format and the size are commonly found in the production of this artist, who was particularly fond of stormy seas. He spent long hours observing the sea in order to later depict it on canvas with a Romantic interpretation, where nature prevails over mankind. In this instance the latter is represented by the small boats in the distance, which serve to enhance the grandeur of the sea.
The low horizon lends greater emphasis to a sky brimming with clouds that threaten a storm, eliciting concern for the uncertain fate of the small vessels that are at its mercy. This was a common compositional device among French and English seascapists from the 18th century. The pure seascape, with no reference to other elements, is a genre traditionally cultivated in England and the Netherlands, countries that the artist had visited.
Painted with lean, flowing brushstrokes, the piece was hastily done, yet its quality is greater than that found in many of his later works, which were conceived and produced with a purely commercial intent.
This painting comes from the collection of Fernando Benet and was exhibited in Sala Parés in June 1969, as stated on a label on the back.