拍品 9
  • 9

卡米耶·畢沙羅 《蓬圖瓦艾爾米塔日的馬圖林山坡》

估價
400,000 - 600,000 GBP
招標截止

描述

  • Camille Pissarro
  • 《蓬圖瓦艾爾米塔日的馬圖林山坡》
  • 款識:畫家簽名C. Pissarro並紀年1876(右下)
  • 油彩畫布

來源

杜杭·胡埃畫廊,巴黎(約1888年購入)
杜杭·胡埃畫廊,紐約(1888年4月10日購入)
伊莎貝拉·海伊,紐約(約1899年購入)
杜杭·胡埃畫廊,紐約(1905年2月15日購自上述藏家;至少收藏至1936年)
路易·德·肖萊男爵,佛立堡(約1936年購入)
維登斯坦公司(1965年購自上述藏家)
私人收藏,美國(1968年購入)
林孔德藝術畫廊,卡拉卡斯
弗朗索瓦伉儷(購自上述畫廊;售出:倫敦佳士得,2011年6月21日,拍品編號85)
現藏家購自上述拍賣

展覽

Boston, Chase's Gallery, The Impressionists of Paris: Claude Monet, Camille Pissarro, Alfred Sisley, 1891, possibly no. 6 (titled Paysage près Pontoise)

Buffalo, The Buffalo Fine Arts Academy, Albright Art Gallery, The Nineteenth Century: French Art in Retrospect, 1932, no. 47 (titled Landscape at Pontoise)

Indianapolis, John Herron Art Institute, 1932

Toronto, The Art Gallery of Toronto, Modern French Painting, from Manet to Matisse, 1933, no. 31 (titled Paysage près Pontoise)

Houston, Museum of Fine Arts of Houston, Modern French Paintings, 1934, no. 25 (titled Pontoise and as dating from 1871)

San Francisco, Museum of Art, Opening Exhibition: Art of our Time, 1935, no. 30

Albany, Albany Institute of History and Art, Exhibition of Paintings by the Master Impressionists, 1935, no. 18 (titled Landscape near Pontoise)

Kansas City, William Rockhill Nelson Gallery of Art and Mary Atkins Museum, French Impressionist Landscape Painting, 1936, no. 50 (titled Landscape near Pontoise and with inverted measurements)

New York, Durand-Ruel Galleries, Monet, Pissarro, Sisley, before 1890, 1938, no. 9 (titled Paysage près Pontoise)

New York, Knoedler Galleries, Early Impressionism 1868-1883, 1941, no. 20 (titled Paysage à Pontoise)

出版

盧多維克·洛多·畢沙羅及里奧奈羅·溫杜里,《卡米耶·畢沙羅:其藝-其畫》,巴黎,1939年,第I冊,品號346,收錄於第129頁;第II冊,品號346,圖版69載圖(畫名《蓬圖瓦附近風景》)

查爾斯·古斯特勒,《畢沙羅:城市與鄉郊》,洛桑,1967年,圖14,第31頁載彩圖(畫名《蓬圖瓦附近風景》)

約阿希姆·畢沙羅及克萊兒·杜杭·胡埃·斯諾拉特斯,《畢沙羅:重要油畫圖錄》,巴黎,2005年,第II冊,品號444,第321頁載彩圖

拍品資料及來源

Painted in 1876, La Côte des Mathurins à l’Hermitage depicts the outskirts of Pontoise, where Pissarro lived from 1866 until 1883. Located some twenty-five miles northwest of Paris, Pontoise was built on a hilltop, with the river Oise passing through it, elements which made it a highly picturesque environment in which to paint en plein-air. The region offered Pissarro a wide range of subjects, from crowded semi-urban genre scenes, views of roads and factories, to farmers working on the fields and isolated landscapes devoid of human presence. His compositions at this time alternated mainly between depictions of the busy streets of Pontoise, and L’Hermitage (fig. 1), a rural district on its outskirts, where Pissarro lived with his family. In the present canvas, the focal points are the tall cypress tree in the centre and the large house - located on the rue de l’Hermitage - on the right, with the hillside of the Côte des Mathurins visible in the background.

Joachim Pissarro wrote about the motifs that characterised Pissarro’s Pontoise pictures: ‘These endless combinations of contrasts and variable forces lend themselves to a thematic three-part opposition – intrinsic to the suburban world – between town, country, and their limits, or the intermediary formations that bind them together: the fringe, the villages nearby, the paths that lead to the town, the river, the kitchen gardens – all forms of transitions between field and town. […] Tensions of this type – rural/urban/suburban; nature/architecture/path; fields/path/building(s); city/river/bridge – are absolutely central to Pissarro’s output in Pontoise, and clearly represent the focal points of his grasp of the antinomies inherent in suburban spaces. Out of these, Pissarro composed a poetical-pictorial ensemble with resounding evocative power’ (J. Pissarro, Camille Pissarro, London, 1993, pp. 114-115).

La Côte des Mathurins à l’Hermitage indeed unites the rural and suburban aspects in a harmonious composition. The scene is animated by the figures walking along the path and going about their daily activities. The simple, solid shape of the buildings stands in contrast to the rolling hills and the patchwork of fields seen in the distance. The tall tree in the centre heralds a compositional device often used by Cézanne, who lived nearby and who would become Pissarro's regular painting companion in the following years. Dating from 1876, the present work exemplifies the height of Pissarro’s Impressionist style, painting with his easel in the midst of the landscape, and capturing its essence in swift, spontaneous brushstrokes, without any preparatory sketches. Joachim Pissarro observed: ‘During his years in Pontoise, Pissarro was deeply involved with the Impressionist group and was seen not only as a committed Impressionist artist until at least 1882, but also as an ardent defender of the group’s function as an alternative to the Salons. […] He was the only artist to exhibit in all eight Impressionist exhibitions’ (ibid., p. 90).

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