PROPERTY FROM A PRIVATE ENGLISH COLLECTION
We are grateful to David Coombs for his kind assistance with the cataloguing of the present work.
The Calanques are a series of rocky inlets that characterise the coastline near Marseilles in the south of France, an area with warm Mediterranean light that greatly appealed to Churchill's painterly instincts, and drew him back again and again. Churchill's ventures to the south of France were welcome breaks, providing the perfect respite from the pressures of political life. This sense of freedom is evoked in Calanques, Near Marseilles through Churchill's vibrant depiction of the scene, rendered with energetic and confident brushwork. He captures the heat, tranquillity and languor, so different from the rush and rain of London: here cliffs are bathed in warm sunlight, gentle waves wash up along the shore, and a bobbing boat is moored to the coastline.
Churchill adopted an especially interesting viewpoint in the present work, which emphasises the glistening reflection and refraction of light across the warm Mediterranean water. The fluid impasto and scintillating colour combinations that highlight the rhythmic movement of the sea reverberate across the picture plane, demonstrating the influence of the Impressionists and the lessons Churchill had learnt from what he called: 'the modern French School... [the] disciples of Cézanne. [These artists] view Nature as a mass of shimmering light in which forms and surfaces are comparatively unimportant, indeed hardly visible, but which [gleam] and [glow] with beautiful harmonies and contrasts of colour' (David Coombs and Minnie Churchill, Sir Winston Churchill's Life Through His Paintings, Chaucer Press, London, 2003, p.71).
According to Clementine Churchill, Winston had never visited an art gallery prior to taking up painting, but in 1915 he met and befriended Carl Montag in Paris. Montag was a landscape painter of Swiss origin who was a friend of Monet, Degas, Pissarro and Renoir, and took Churchill around the galleries of Paris. Later in January 1921 the pair decided to test the appeal of Churchill's paintings on French clients and organised an exhibition under the pseudonym Charles Morin at the Galerie Druet in Paris, a gallery specialising in Post-Impressionist paintings. The paintings of the Impressionists had a profound impact, and a bold palette was to be a staple of Churchill's work from then onwards. In the present work, the confidently impastoed brushstrokes spring to life across the paint surface and demonstrate a confidence with both colour and paint that reveal the artist’s raw talent as well as his ability to incorporate lessons and developments from art history.
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