Jean-Pierre Houël

Vente anonyme, Paris, Tajan, 19 décembre 2007, lot n°45 ;
Acquis à cette vente

On the naked eye : The painting is in an overall good condition. It is painted on a non-cradled panel. The pictorial material is perfectly stable.We cannot notice any restoration. Under the UV lamp : The painting appears under a slight green uniform varnish. We do not notice any restoration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Jean Houël apporte à l’art du paysage français une douceur et une intelligence de la lumière qui évoquent déjà les œuvres d’artistes plus romantiques ou pré-impressionnistes comme Jean-Victor Bertin ou Camille Corot. La lumière et le chromatisme d’une grande douceur avec des teintes pastel bleutées et vert d’eau sont des éléments très caractéristiques et qui signent sa palette. Notre tableau est une scène à la simplicité charismatique. L’artiste nous invite à percevoir la douceur d’un instant, la poésie d’un moment. Le format de cette œuvre, restreint, renforce l’intimité de la scène à laquelle le spectateur est convié. Jean Houël, originaire de Rouen et issu d’une famille modeste, est formé par Jean-Baptiste Descamps dans l'école gratuite de dessin rouennaise. A la mort de son père en 1764, il s’oriente vers la peinture et travaille à Paris avec Francesco Casanova (peintre de batailles et de paysages). Il se familiarise rapidement avec la société parisienne et fréquente les salons de Madame Geoffrin où il rencontre les protagonistes du Siècle des Lumières : Diderot, d’Alembert mais aussi, Boucher, Vien, Vincent… C’est à la demande de Marigny, surintendant des Bâtiments du Roi qu’il est envoyé en Italie. La découverte sera bouleversante et Jean Houël sera fasciné par le sud de la péninsule et les paysages qui s’offrent à lui. Il décidera de prolonger son séjour poursuivant sa visite en Sicile dont il publiera le récit au travers des « Voyages Pittoresques » dont la presque totalité des oeuvres ont été acquises par Catherine II.

Jean Hoüel brought softness and knowledge of lighting onto French landscape art which already evoked the works by Romantic and Pre-Impressionist artists such as Jean-Victor Bertin and Camille Corot. The light and very gentle chromaticism with bluish and water-green pastel colors are very typical elements that distinguished his palette. Our painting is a scene with charismatic simplicity. The artist invites us to perceive a sweet instant and the poetry of a moment. The restrained format of this work reinforces the scene's intimacy in which the viewer is welcomed.

Jean Houël was from a humble family in Rouen, France, and educated by Jean-Baptiste Descamps in the tuition-free drawing school in Rouen. After his father’s death in 1764, he oriented towards painting and worked in Paris with Francesco Casanova (painter of battles and landscapes). He soon became acquainted with Parisian society and frequented the salons of Madame Geoffrin where he met the protagonists of the Enlightenment: Diderot, d'Alembert, Boucher, Vien, Vincent, etc. Per the request of the director general of the king’s buildings, Marigny, he was sent to Italy. The discovery was unforgettable and Jean Houël became fascinated by the southern peninsula and its landscapes lying in front of him. He decided to extend his stay and continued to Sicily. This journey was told in the published picture book, Voyages Pittoresques (Picturesque Travels) from which Catherine II acquired almost all the artworks.