Lot 10
  • 10

Eugène Boudin

Estimate
150,000 - 200,000 GBP
Sold
bidding is closed

Description

  • Eugène Boudin
  • VENISE. NAVIRE À QUAI. CANAL DE LA GIUDECCA
  • signed E. Boudin and dated Venise 95 (lower left); titled on the stretcher
  • oil on canvas

  • 47 by 65.4cm.
  • 18 1/2 by 25 3/4 in.

Provenance

Estate of the artist (sold: Hôtel Drouot, Paris, Vente Atelier Boudin, 20th & 21st March 1899, lot 109)
Galerie Schmit, Paris
Arthur Tooth & Sons, London
Acquired from the above by the father of the present owner in 1973

Literature

Robert Schmit, Eugène Boudin, Paris, 1973, vol. III, no. 3433, illustrated p. 312

Catalogue Note

Boudin made the first of his three trips to Venice in 1892, and produced a large number of paintings and drawings of its canals and surrounding buildings. In the summer of 1895 he returned to Venice for the last time with the landscapist Henri Harpignies and another fellow painter. Staying there for about two months, and fascinated by the quality of light, the water and the architecture of the city, he created a remarkable body of work characterised by a luminous palette and clear, precise brushwork that is rarely found in his French paintings. By the time he first travelled to Venice, he was already familiar with its scenery from the eighteenth-century views by Francesco Guardi, of which Boudin made copies during his visits to the Louvre in the 1860s.

 

Peter C. Sutton wrote of Boudin's Venetian paintings: 'these sparkling images of the ancient city and its monuments usually adopt a distant point of view in the tradition of Canaletto and Guardi, but are executed with a more animated touch that enlivens the sea and sky. Boudin's paintings of Venice apparently were well received; at the posthumous sale of the contents of his atelier in 1899, a Venetian painting fetched the highest price' (P. C. Sutton, Boudin, Impressionist Marine Paintings (exhibition catalogue), Peabody Museum of Salem, 1991, p. 78).

 

Although in many of his Venetian paintings Boudin shared the topographical concerns of Canaletto, depicting the city's buildings seen frontally, in the present work he shifted his focus to the Giudecca Canal, presenting a more Impressionistic view of the water and the sky, separated by the receding line of houses taking the viewer's eye into the depth of the composition. The artist paid careful attention to the depiction of the bright blue sky with scattered white clouds, and rendering the water in lively short brushstrokes with houses and boats reflecting on its surface.

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