William Gerdts writes in an unpublished essay, “In the first comprehensive study of Glackens art and life, the dissertation completed by Vincent John De Gregorio for [Ohio] State University in 1955, the author perceptively noted and examined what he termed a ‘Period of Transition,’ roughly between 1907 and 1910. Though the specific parameters of this period may be slightly reworked, De Gregorio correctly realized that Glackens was searching for an alternative to his earlier work, one which allied him with more progressive aesthetic options, and during these years, especially during the summer months on the shore, created a number of fascinating, avant-garde pictures which, at least for this brief period, ally him not so much with the Impressionists as with Post-Impressionism and Fauvism. ‘The Seashore’ is one of the most exciting of these achievements.”[1]

[1] William H. Gerdts (unpublished essay).