Bord de LOise a laube Pontoise by Louis Hayet
View Similar Items
Louis HayetBord de LOise a laube Pontoise by Louis Hayet1888
1888
About the Item
1864-1940• French
Bord de L'Oise a l'aube, Pontoise
Signed and Dated 'L. Hayet. 88' (lower right)
Oil on Canvas
This enchanting waterscape by French artist, Louis Hayet depicts an ethereal sunrise in the historically important town of Pontoise. In this stunning painting depicting the banks of the Oise river, a pointillist sky is painted so that it is shimmering and radiant, and the water reflects a luminous world. The trees, phantomlike, reflect their shadows in the water and evoke a tranquil landscape at dawn.
This classic post-impressionist scene was painted in the town of Pontoise, just outside of Paris. Pontoise was extremely important to 19th century art as a number of important painters worked there, including Gauguin, Pisarro, Guillaumin, and Cezanne and the landscape of Pontoise can be seen in many works by these artists. The city was also Hayet's birthplace and home and the majority of the artist's impressionist landscapes were painted there in 1888.
Hayet was born on August 29,1864. He started drawing and painting when he was twelve years old while was traveling with his father who was a peddler. He worked with the neo-impressionist group of Seurat, Signac and Louis & Camille Pisarro. His connections to this group of artists was followed by an extremely productive period as a successful artist in Paris. It was during the years of 1897 to 1890 that Hayet executed his finest works. He spent the later part of his career returning to a more traditional way of working and conducting scientific research on pigment and color.
Today Hayet is renowned as a master of the Pontoise landscape, and important collections of Impressionist artists are not complete without his inclusion. Hayet became famous for his views of the French countryside and was particularly renowned for his paintings depicting the Oise river. Bord de L'Oise a l"aube, Pontoise is a superb and extremely rare example of Hayet's oeuvre at the height of his career. The unusually large size (the artist was known to paint on a much smaller scale) and the exceptional quality of the work make this a true 19th century masterpiece.
Dated 1888
Canvas: 20 1/2" high x 28 1/4" wide
Frame: 30" high x 38" wide
Provenance:
Private Collection
Exhibited:
Pontoise, Musee Tavet, Louis Hayet, oeuvres neo-impressionnistes de 1885 a 1895, 1991
Literature:
Guy Dulon & Christophe Duvivier, Louis Hayet; peintre et theoricien de neo-impressionnisme, Pontoise, 1991, illustrated in colour p. 139.
- Creator:Louis Hayet (1864-1940, French)
- Creation Year:1888
- Medium:
- Period:
- Condition:Excellent.
- Gallery Location:New Orleans, LA
- Reference Number:Seller: 30-02481stDibs: G13053018618
Louis Hayet
Louis Hayet was born to a modest family in Pontoise, near Paris, and despite early evidence of considerable artistic and academic talents, he began his career as a travelling salesman.
Eventually joining with the Neo-Impressionist group of painters centred upon Camille Pissarro, Paul Signac and Georges Seurat, Hayet’s inherent predisposition for painting revealed itself as he experimented with colour, texture and light. Hayet established a friendship with Camille Pissarro, and Pissarro’s eldest son Lucien, a year after moving to Paris in 1885.
Curiously, Paul Signac removed mention of Hayet from the Pointillism manifesto. Yet, from his studios at Montmartre and La Frette, Hayet was a prolific artist who produced a diverse body of work that always sought to be true to the nature of colour itself.
Bearing the influence of Seurat, Hayet would often work en plein air with a fast-moving, decided technique that foreshadowed the evolution from Impressionism to Neo-Impressionism. He was drawn to themes such as the circus, modern urban scenes and landscapes.
The science-based principles of Neo-Impressionism followed Hayet to the end of his painting career, after which he dedicated his time to scientific research into pigments.
(Biography provided by Stern Pissarro Gallery)
- The Golf LinksBy Childe HassamLocated in New Orleans, LAChilde Hassam 1859-1935 American The Golf Links Oil on canvas board Signed, located and dated "Childe Hassam / Easthampton / Oct 7th 1926" (lower right)...Category
Early 20th Century Impressionist Landscape Paintings
MaterialsOil, Canvas
- The Pioneer, The Nonsuch By Montague DawsonBy Montague DawsonLocated in New Orleans, LAMontague Dawson 1890-1973 British The Pioneer, The Nonsuch Signed “Montague Dawson” (lower left) Oil on canvas The dynamism of the seas and the might of the clipper ships that br...Category
20th Century Academic Landscape Paintings
MaterialsCanvas, Oil
- Boulevard Magenta, Place De La République By Edouard Léon CortèsBy Édouard Leon CortèsLocated in New Orleans, LAEdouard Léon Cortès 1882-1969 | French Boulevard Magenta, Place de la République Signed “Edouard Cortès” (lower right) Oil on canvas Celebrated as the “Parisian Poet of Painting,”...Category
20th Century Post-Impressionist Landscape Paintings
MaterialsOil, Canvas
- Monastery Complex With Statue Of Maria By Rubaldo MerelloLocated in New Orleans, LARubaldo Merello 1872 - 1922 | Italian Monastery Complex with Statue of Maria Signed “Merello R.“ (lower right) Oil on canvas Rubaldo Merello was a prolific turn-of-the-century art...Category
Late 19th Century Post-Impressionist Landscape Paintings
MaterialsOil, Canvas
- Le Château D’Artigny By Ramon DilleyLocated in New Orleans, LARamon Dilley 1933 - | Spanish Le château d’Artigny Signed “Dilley 90” (lower right) Signed and titled “Ramon Dilley / Le château d’Artigny” (en verso) O...Category
20th Century Post-Impressionist Landscape Paintings
MaterialsOil, Canvas
- Onward - The Norman Court by Montague DawsonBy Montague DawsonLocated in New Orleans, LAMontague Dawson 1890-1973 British Onward - The Norman Court Signed “Montague Dawson” (lower left) Oil on canvas The dynamism of the seas and the might of the clipper ships that brave their waters are captured with great accuracy and attention to detail in this monumental work by Montague Dawson. Here, the artist brings vividly to life the historic clipper ship Norman Court as it battles the waves on the open sea. Dawson, arguably the most important maritime painter of his generation, possessed an incomparable talent for rendering ships at sea with unparalleled energy and vitality. The speed and grace of these historic ships is perfectly realized in the present work, enhanced by Dawson's mastery over composition and the large scale of the painting. Built and launched in 1869 by A. & J. Inglis of Glasgow, Norman Court was a composite clipper ship that traveled between the United Kingdom and East Asia under the command of Andrew Shewan and his son, also named Andrew Shewan. While returning from Java to Glasgow carrying sugar, Norman Court's career was cut short in March of 1883 when a powerful gale caused the ship to be wrecked on the rocks of Cymyran Bay, between the villages of Rhoscolyn and Rhosneigr in Wales. Dawson's immersive composition captures the ship at full sail and the height of her glory, battling the white-capped waves on a brilliant day at sea. The son of a keen yachtsman and grandson of marine painter Henry Dawson, Montague Dawson spent much of his childhood on the Southampton Water, where he was able to indulge his interest in the study of ships. Naturally gifted at drawing and painting, the self-taught Dawson became a member of an art studio group in Bedford Row...Category
Early 20th Century Academic Landscape Paintings
MaterialsCanvas, Oil
- Bernhard ButerLocated in Saint Augustine, FLArtist: Bernhard Buter (1883-1959) German Title: Rhinish Landscape Medium: Oil on Canvas Dimensions: Framed 19” x 21” , Unframed 11 x 13” Bernhard Buter paints agrarian landscapes i...Category
Early 20th Century Realist Landscape Paintings
MaterialsCanvas, Oil
- "Les Falaise Normande" (The Cliffs Of Normand)By René GenisLocated in Berlin, MDRene Genis (French 1922-2004) “Les Falaise Normande” / The Cliffs of Normand. A sea scape with high cliffs, the beach, and two fishermen. The cliffs are in browns, tans and olives a...Category
1990s French School Landscape Paintings
MaterialsCanvas, Oil
$3,360 Sale Price30% Off - "Monument Valley"By René GenisLocated in Berlin, MDRene Genis (French 1922-2004) Monument Valley. 1967. Beautiful oranges, browns, greens against a turquoise blue sky. Oil on canvas, laid on mat. Si...Category
Mid-20th Century Landscape Paintings
MaterialsOil, Canvas
- Early oil depicting the Great Fire of LondonLocated in London, GBThe Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...Category
17th Century Old Masters Landscape Paintings
MaterialsOil, Canvas
- White FarmBy Zygmund JankowskiLocated in Gloucester, MAZygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...Category
1980s Contemporary Landscape Paintings
MaterialsCanvas, Oil
Price Upon Request - Autumn Landscape with PurpleBy Zygmund JankowskiLocated in Gloucester, MAZygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...Category
1980s Contemporary Landscape Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllRead More
Wear Louis Comfort Tiffany’s Genius on Your Finger with This Vivid Ring
In his jewelry making, the designer rarely used diamonds — this rare example has two.
You Won’t Find a More Handsome Stopwatch Than This 1890s Pocket Chronograph
A Grand Complication from the golden era of pocket watches, the Marius Lecoultre pocket watch does everything but uncork your wine.