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EIGHT WORKS FROM AN IMPORTANT PRIVATE COLLECTION, FRANCE

Gustave Caillebotte
ROSES JAUNES ET ROUGES DANS UN VASE DE CRISTAL
前往
304

EIGHT WORKS FROM AN IMPORTANT PRIVATE COLLECTION, FRANCE

Gustave Caillebotte
ROSES JAUNES ET ROUGES DANS UN VASE DE CRISTAL
前往

拍品詳情

印象派及現代藝術

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巴黎

Gustave Caillebotte
1848-1894
ROSES JAUNES ET ROUGES DANS UN VASE DE CRISTAL
signed G. Caillebotte (lower right)
oil on canvas
45,8 x 37,9 cm; 18 x 14 7/8 in.
Executed in 1887-88.
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來源

Ambroise Vollard, Paris
Private collection, France
Thence by descent to the present owner

展覽

Paris, Galerie Schmit, Cent ans de peinture française, 1969, no. 21, illustrated in the catalogue p. 33

出版

Marie Berhaut, Caillebotte, sa vie et son œuvre, Catalogue raisonné des peintures et pastels, Paris, 1978, no. 324, illustrated p. 190
Marie Berhaut, Gustave Caillebotte, Catalogue raisonné des peintures et des pastels, Paris, 1994, no. 360, illustrated p. 207

相關資料

Roses jaunes et rouges dans un vase de cristal dates from the period when, after the sale of the family estate in Yerres, Gustave Caillebotte purchased a house in Petit-Genevilliers. Close to Argenteuil, this locality was frequented by Monet in 1871, Sisley in 1872, Renoir and then Manet in 1874. Caillebotte became a fervent gardener. He shared this passion (and wrote letters on the subject) with Monet, his neighbour in Giverny whom he often visited down the river, and Octave Mirbeau, art critic who enjoyed lunches where they discussed the three things they loved : painting, flowers and boats. Another journalist wrote "the garden was superb, overflowing with roses and dahlias. The glass walls of the large greenhouse in which the owner of this small suburban palace took his cuttings, shone in the sun. A small deck, in front of his house, allowed him to step into his pleasure boat." (Jean Prasteau, quoted in Marie-Josèphe de Balanda, Gustave Caillebotte, 1988, p.32). Taken during the winter of 1891-1892, the photographs of his brother Martial, testify to the opulence of his residence. At a time when the painter and patron made a point of honour of organising luncheons every month with the members of the Impressionist group to maintain cohesion, he also threw himself into the decoration of the dining room of his cherished home. He painted an invasion of exuberant flowers on the door panels and decorative panels.  In their cylindrical crystal vase the yellow and red roses must surely have participated in this decorative  concert.

印象派及現代藝術

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巴黎