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Émile Bernard
LES FANEUSES DANS UN PRÉ, 1887
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53
Émile Bernard
LES FANEUSES DANS UN PRÉ, 1887
前往

拍品詳情

吉娜特與亞倫‧雷許特收藏繪畫及雕塑

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巴黎

Émile Bernard
LES FANEUSES DANS UN PRÉ, 1887
oil on canvas
Signed Emile Bernard and dated 1887 lower left
35,5 x 43,5 cm ; 14 x 17 1/8 in.
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來源

Maître Georges Blache, Versailles, June 7, 1978, lot 15

展覽

Japan, Gifu, Gifu Museum of Art, Tournant de la peinture entre la seconde moitié des années 1880 et les années 1890, théories artistiques et peinture française, 1993, no. 47
Paris, Galerie Malingue, Emile Bernard, époque de Pont-Aven, May 21- July 17, 2010

出版

Tournant de la peinture entre la seconde moitié des années 1880 et les années 1890, théories artistiques et peinture françaiseexhibition catalogue, Japan, Gifu, Gifu Museum of Art, 1993, illustrated p. 38
Emile Bernard, époque de Pont-Aven
, exhibition catalogue, Galerie Malingue, Paris, May 21 - July 17, 2010, illustrated
Jean-Jacques Luthi and Armand Israël, Emile Bernard Instigateur de l'Ecole de Pont-Aven Précurseur de l'art moderne, Sa vie, Son Œuvre, Catalogue raisonné, Paris, 2014, no. 137, illustrated p. 160

相關資料

Béatrice Recchi Altarriba has kindly confirmed the authenticity of this work.

Painted in 1887, Les Faneuses dans un pré is a key work that attests to the perspicacity and daring of Emile Bernard’s vision.

In 1886, having been dismissed from Ferdinand Cormon’s studio where Anquetin and Toulouse-Lautrec were his friends, Bernard discovered Brittany, sleeping in barns and sharing the meals of the farmers. That year, the eighth and last Impressionist Exhibition was on show as were exhibitions of Seurat’s and Signac’s work presented in October in Paris. However, Bernard’s study of divisionist paintings left him dissatisfied: if the method was interesting for its vibrant treatment of colour, it also had the effect of stripping colour down. Bernard began the search for another, different procedure.

In March 1887, Bernard decided to abandon Neo-impressionism for a new style where his choice of chromatic simplification in conjunction with an intensification of colour meant that ideas dominated form. The notion of Cloisonism as a method and Symbolism as a theme began to take form. In the Spring of the same year, Bernard left Brittany; in July he was in Pont-Aven. He was not close to Gauguin at that time as the latter was in Martinique, working on Synthetism which would see the day in 1888, the year when Bernard and Gauguin stayed at the Gloanec guest house during a period of intense and fruitful collaboration. Sérusier’s Talisman which would become a Nabis icon was soon to come.

In 1887, at the period when he painted Les Faneuses dans un pré, Bernard met frequently with Van Gogh. The two painters met at Père Tanguy’s boutique where Bernard was in the habit of leaving his works since 1886. The painting Les Faneuses dans un pré is covered with rapid brushstrokes which give prominence to the chromatic audacity of remarkable maturity. At a time of great agitation, in the archaic landscape of a thousand-year-old Brittany, the symbiosis of man and earth can be found in the unprecedented conjunction of brushstroke and colour.

吉娜特與亞倫‧雷許特收藏繪畫及雕塑

|
巴黎