Lot 39
  • 39

Alfred Smith

Estimate
70,000 - 100,000 USD
bidding is closed

Description

  • Alfred Smith
  • Après l'averse
  • signed Alf Smith, inscribed Paris and dated 85 (lower right)
  • oil on canvas

Provenance

Gounouilhou Collection, Paris (by 1886)
Sale: Sotheby's, New York, April 23, 2010, lot 84, illustrated
Acquired at the above sale

Exhibited

Paris, Salon, 1886, no. 2211

Literature

Louis Ennault, Paris Salon 1886, Paris, 1886, p. 69-70, illustrated p. 68
Judith Gautier, "Le Salon," Le Rappel, no. 5895, May 4, 1886
La Revue Normande et Parisienne, no. 5, May 1886, p. 138
René Tessier, "Le Salon," La Décade correspondance, note et chronique de dix jours, no. 16, June 1, 1886, p. 499
Gustave Geffroy, "Salon de 1886," La Justice, no. 2343, June 14, 1886, p. 2
Louis Ganderax, "Délégué au Salon," Les Lettres et les Arts: Revue Illustrée, vol. 1, no. 2, 1886, p. 350
René Tessier, "Le Salon," La Décade correspondance, note et chronique de dix jours, no. 16, June 1, 1886
A-J. Boyer D'Agen, "Le Salon et l'atelier en 1886," Revue Internationale, vol. XI, 1886, p. 229
Alfred Smith: Un regard sur la vie moderne, exh. cat., Muśee des Beaux-Arts de Bordeaux, 2007, pp. 60, 102, 156

Catalogue Note

Born in Bordeaux to English parents, Alfred Smith first exhibited his work at the 1876 Salon in his hometown before moving to Paris four years later, where he trained in the studios of Hippolyte Pradelle, Léonce Chabry and Amadeus Baudit. He exhibited at the Paris Salon from 1880 on, and was awarded honors and medals for his atmospheric contributions, including the present work.  Dated 1885, Après l'averse holds all the elements for which Smith's paintings were celebrated: complex, detailed scenes of urban life married to a brilliant depiction of the natural world, the result of his extensive training as a landscape painter. The work shows the influence of his friend and mentor Louis-Augustin Auguin, his teachers, and the Barbizon work of Jean-Baptiste-Camille Corot.  Smith paints the clearing gray skies and pooling water of Après l'averse in a delicate, luminous style close to Impressionism, while the careful observation of people bustling about their day reveals his naturalistic sensibilities. The success of this rainy urban landscape work foreshadows L’Averse (Place de la Concorde) (1888, Musée des beaux-arts, Pau), and together these works demonstrate Smith’s quest to record the world around him and the evolution of his eclectic, highly personal style that continued to evolve throughout his long career.
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