Beach of Trouville

布丁创作了大量的户外小品，这意味着他几乎没有留下大规模的作品。他在职业生涯中只为沙龙创作了91幅作品，在1870年之前只画了15幅作品。最重要的这些早期活泼，强大的作品是1860年的图尔维尔湾现在在明尼阿波利斯美术学院。这里的工作比明尼阿波利斯的工作重要。在他对1859年沙龙的评论的最后一部分中，波德莱尔提出了以下警告：“在这里，我们缺乏将人们和纪念碑聚集在一起所产生的规模和美丽结合在一起的作品，我不得不称之为城市景观。”不清楚布丁是否采纳了这一建议，但是随着明尼阿波利斯在次年沙龙的作品，1866年沙龙的《图尔维尔海滩》（私人收藏，厄普维尔）和这部作品，他将注意力从自然景观场景转移到了聚集在海滩上的人群，使他们呈现出一种类似雕带的形式。图尔维尔是布丁在此期间不断造访的地方，被称为巴黎人避暑最受欢迎的度假胜地，人们可以清楚地看到波德莱尔在这个海滨度假胜地提到的“现代生活”。这项工作是布丁在1860年开始的户外人群场景实验的结果之一。布丁的天空，用画笔的细微差别创造出了广阔的深度感，符合波德莱尔对“气象美世界”的描述。布丁在天空下面的人群中描绘了海滩度假生活的生动、明亮的感觉，在画布上用一条类似雕带的方式排列。这幅画的整体灰色色调进一步强调了强烈的红色调。（来源：2009年东京国立西方艺术博物馆的杰作，猫。69号）

Boudin's creation of numerous outdoor sketches meant that he left few large-scale works. He only created 91 works for the Salon during his career and only painted 15 works before 1870. The most important of these early lively, powerful works is Tourville Bay of 1860 now in the Minneapolis Institute of Fine Arts. The work here ranks second in importance to the Minneapolis work. In the last part of his critique of the 1859 Salon, Baudelaire makes the following warning, "Here we lack works that bring together the scale and beauty born in the gathering of people and monuments that I have to call urban landscapes." It is not clear whether Boudin moved to take this advice, but with the Minneapolis work in the salon of the following year, Beach at Tourville (Private collection, Upperville) in the 1866 Salon and this work, he changed his focus from natural landscape scenes to groups of people gathered at the beaches, rendering them in a frieze-like form. Tourville, a site that Boudin visited incessantly during this period, was known as the most popular resort for Parisians escaping the heat of summer, and one could clearly see the "modern life" mentioned by Baudelaire at this coastal resort. This work was one of the results of Boudin's experiments with outdoor scenes of groups of people that he began in 1860. Boudin's sky, with its broad sense of depth created by brush nuances, fits Baudelaire's description of the "world of meteorological beauty." Boudin painted the lively, bright sense of beach resort life in the groups below this sky, arranging them in a frieze-like band across the canvas. The overall gray tone of the painting further emphasizes the strong red accents. (Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no.69)