Cuno Amiet

Internationale Privatsammlung (Direkt von der Familie der heutigen Besitzer beim Künstler erworben (1960))

evtl. Basel, Kunsthalle, Permanente Ausstellung, 1894
Dallas, Dallas Museum of Art, The Outline and the Dot. Two Aspects of Post-Impressionism, 1962, Nr. 10 (Harvest in Brittany)
London, Tate Britain, Gauguin and the Pont-Aven Group, 1966, Nr. 223 (Harvest in Brittany)
Zürich, Kunsthaus, Pont-Aven. Gauguin und sein Kreis in der Bretagne, 1966, Nr. 75
Tokyo/ Kyoto/ Sapporo/ Indianapolis/ Koriyama/ Sydney/ Baltimore und Jerusalem, Gauguin and the School of Pont-Aven, 1993-1996, Nr. 22 (Harvest in Brittany)
Künzelsau, Museum Würth, Gauguin und die Schule von Pont-Aven, 1997, Nr. 22 (Ernte in der Bretagne/La moisson en Bretagne)
Paris/Quimper, Musée du Luxembourg, L'Aventure de Pont-Aven et Gauguin, 2003, Nr. 97 (La moisson en Bretagne)

E. Br., "Pont-Aven. Gauguin und Amiet in der Bretagne", in: Der Bund 12./13.3.1966, Nr. 100
Geneviève Sandoz, "A l'école de Pont-Aven", in: Vevey 1995 (I), S. 26
André Cariou, "1890-1893, rencontres et passages à Pont-Aven et au Pouldu", in: Paris/Quimper 2003, S. 194-305, Nr. 97
Franz Müller/Fiola Radlach, unter Mitarbeit von Larissa Ulmann, Cuno Amiet, Die Gemälde 1883-1919, Teil I, Zürich 2014, S. 140, Nr. 1894.26, abgebildet (in Farbe)

Not unframed Pinholes in the cardboard along the upper edge. Minor paint loss in the signature and some minor paint losses along the lower edge and in the right corner. Tear along the left edge. Under UV-light no retouching visible. Otherwise in good condition
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Unser Erntebild stammt aus der Zeit, als Cuno Amiet sein Atelier in Hellsau hatte. Das friesartige Werk zeigt Berner Bauern beim Beladen eines Fuhrwerkes mit Heu, welches mit einem Pferd und einer Kuh vorgespannt ist. Die Landarbeiterinnen tragen Berner Trachten.
Die Gestaltung des Werkes mit dunkel konturierten Umrisslinien und Binnenflächen sind eine deutliche Reminiszenz auf die Pont-Aven-Ästhetik, die Amiet im Austausch mit der Gruppe der Künstler um Paul Gauguin nur wenig früher aufgenommen hatte. 

This painting of the harvest dates from the period when Cuno Amiet had his atelier in Hellsau. The frieze-like work shows farmers from Bern loading a wagon with hay, with a horse and a cow harnessed in front. The women wear traditional costumes from Bern.
The arrangement of the painting with dark contoured outlines framing areas of colour is clearly reminiscent of the Pont-Aven-aesthetic that Amiet had recently adopted as a result of his exchanges with the group of artists formed around Paul Gauguin.