Helen Lundeberg (1908-1999) was born in Chicago and graduated from Pasadena City College in 1930. She co-founded the movement Subjective Classicism, also known as Post Surrealism, before becoming an integral part of the west coast abstract circle. Her attention to formal elements such as compositional balance and color connected her to a previous generation of abstract artists, including Henri Matisse, Piet Mondrian and Josef Albers. Lundeberg's reductive compositions, flat surfaces and spare compositions link her to contemporaries such as Ad Reinhardt, Ellsworth Kelly, and Agnes Martin. But unlike these other artists, Lundeberg's vision of abstraction remained loosely connected to the world around her. Dramatic landscapes and architectural vistas were composed of forms remembered, things "imagined rather than 'seen,'" as she stated later in life. Such images are distilled down to essential elements of line, color, and space, effecting a coherence of composition that borders on the sublime.

In 2016, The Laguna Art Museum presented a retrospective of Lundeberg’s work. She has also had solo exhibitions at The Fresno Art Museum, Los Angeles County Museum of Art, University Art Museum in Santa Barbara, Long Beach Museum of Art, and Santa Barbara Museum of Art. Her work is included in the permanent collections of The Los Angeles County Museum of Art, Smithsonian American Art Museum, Norton Simon Museum, San Francisco Museum of Modern Art, Laguna Art Museum, Museum of Contemporary Art in San Diego, Museum of Fine Arts in Boston, Orange County Museum of Art, Hirshhorn Museum and Sculpture Garden, San Diego Museum of Art, Oakland Museum, Norton Museum of Art, Georgia Museum of Art, and Fresno Art Museum.

Seascape displays flat horizontal fields of cool blues, greens and lilac on a neutral ground. As suggested by the title and the colors, the painting evokes a marine panorama, one that is distinctly West Coast. Its sparse composition and level topography have clear counterparts in the vast California landscape, reinforcing the artist's connection to the space and light of her adopted home. In both form and content, the painting is a classic example of Lundeberg's work from this period.