Jan Zrzavý discovered Brittany, a source of inexhaustible inspiration, in 1925. Locronan, a medieval town with a rich Celtic history, was one of his favourite places, where he found the authenticity and spiritual depth he constantly sought in his work. House in Locronan from 1936 introduces one of the characteristic motifs which perfectly epitomises the artist’s fascination with this harsh and poetic landscape. The scene captures the typical architecture of a Breton village with stone houses and grey slate roofs. The composition is dominated by the centrally positioned white house with two windows and an entrance door, in front of which lies a small garden with orange flowers that introduce a lively accent to the otherwise austere colour palette. Here, the author works masterfully with multicoloured shades of grey, white and earth tones, which are complemented by the lush turquoise greenery of the vegetation. The detail of the power lines on the right side of the painting shows an interesting modern element that contrasts with the traditional character of the village and speaks to Zrzavý’s ability to capture the changing times. The painter’s work with perspective and simplified shapes is characteristic and reveals his personal style, balancing on the edge of realism and poetic stylisation. The soft, rounded lines of the vegetation create a harmonious contrast with the geometric austerity of the architecture. The overall impression of the painting is melancholic and contemplative, which corresponds to Zrzavý’s deep, spiritual relationship with Brittany. The painting is an excellent example of his ability to capture genius loci through a seemingly simple architectural motif. Assessed in consultation with Prof. J. Zemina and PhDr. R. Michalová, PhD. The expert opinion of PhDr. K. Srp is attached: “[...] One can admire in the painting Zrzavý’s natural feeling for composition, which has an internal order, as indicated by the leaves and branches of the tree permeating the painting from the left side of the frame and directing the gaze, which disappears somewhere on the right side of the house. Zrzavý depicted the house in full light, as if the light were directly falling onto it, and yet retained a reflection of his characteristic melancholy. The painting was very likely exhibited at the 1936 exhibition Jan Zrzavý organised in his studio in Bubeneč, Prague, not at the [artists’ club] Umělecká beseda. [...].”