In 1889 Gauguin was fed up with an influx of new painters to Pont-Aven and also had little money left due to a long run of few sales and insignificant critical response (Burnett, 85). This led him to finally move to Le Pouldu where he could paint undisturbed, and probably at a lower cost. If only several days at Le Pouldu influenced his paintings in such a strong way, we can imagine that actually living in the town would have a dramatic influence on Gauguin, personally and artistically. Gauguin moved to the town at the end of Septemer, 1889 (Burnett, 190). In Le Pouldu Gauguin established himself in a house with his friend and financer, Dutch painter Meyer de Haan. In this house Gauguin was exposed to the violent Le Pouldu sea
whenever he cared to look out the window, and in fact he was very impressed by these storms which he observed through windows that looked down on the “immense seascape”:
The storms are magnificent, and we paint them directly from the studio, reveling in the sensation of the terrible power of the waves as they beat against the black rocks. (Malingue, 124).
This passage shows how the waves and storms clearly had a strong effect on Gauguin. The fact that he chose to live more than a year right at their doorstep already shows how strong an impression this area had already given him. By this stage his savageness had grown even further. As we shall see his paintings began to acquire strong savage appearances and foreshadow paintings he would create later on in his life. On top of this, he even began to live a more and more savage lifestyle himself, which probably affected both his art even further, and his thoughts of perhaps some day leaving his European life. Whereas before he only had a chance to briefly absorb the atmosphere of the area, he could now access it whenever he wanted. During his long stay there his art was dramatically influenced by the seascape around him.
Beach at Le Pouldu is an astonishingly powerful seascape. The use of line in his depiction of the sea itself is considerably different to earlier paintings, it creates a dreamlike, surreal seascape which reflects the more mystical aspect of savagery. In the case of the waves it is the lack of line at all that does this. There is no clear definition in the waves due to this lack of line around them and this makes it difficult to see any direction in these waves. Because Beach at Le Pouldu is painted from a perspective where no sky can be seen, the fuzzy waves are made to look almost like clouds, and thus create a dreamlike sea, giving birth to the new, more mystical theme of. Adding to this, the lack of distinct line in the sea contrasts with a strangely defined contour of the cliffs near the beach. 
This thin black line emphasizes the solid colours of the vermillion beach and the green grass. Again, this makes the shore appear surreal, out of place with both reality and the cloudlike sea. Between these two conflicting features are three stick figures. The minimalist use of line in depicting these people reflects their relative insignificance to the wild, mystical coast. Such mysticism is taken even further in Black Rocks, as can be seen in the use of line in the clouds and rocks. Here the clouds are given black outlines, and these seem to flow into strange swirls nearer the foreground of the painting. Also, the lines of what appear to be contours on the rock at the left of the painting, under closer inspection make the face of a woman. Although These two paintings do not reflect the same themes of violent and wild savagery, they do still show a strongly increasing mysticism in his paintings, and this is another form of wildness that Gauguin sought to find at Le Pouldu.