Circle of Paul Gauguin Pont Aven School Figure in a Landscape oil circa 1890

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Circle of Paul Gauguin Pont Aven School Figure in a Landscape oil circa 1890

Name: Circle of Paul Gauguin Pont Aven School Figure in a Landscape oil circa 1890
Brand: Unknown
Rating: 4.5 (2 reviews)

About the Item

A fine Post Impressionist oil on canvas. oil on canvas; 32cmx42cm painted hardwood frame: 50cmx60cm Pont Aven School, circle of Paul Gauguin (1848-1903) Figure in a landscape at sunset circa 1880/90. The woman is wearing traditional Breton dress leaning against a tree. The handling of the paint is loose and flowing in impastoed passages on the relatively heavey grade canvas/ linen. The palette is subtle and muted in pinks greens and ochres creating a dreamlike, symbolic atmospheric effect. The Pont Aven school pushed the boundaries of impressionism and realism. A quality piece of avant garde art from the late 19th Century.. Unsigned. Private collection wax seal and catalogue number verso. Good condition some craquelure to the paint surface. Viewing welcome in our town centre gallery.. Worldwide shipping available. Pont-Aven School (French: École de Pont-Aven, Breton: Skol Pont Aven) encompasses works of art influenced by Pont-Aven and its surroundings. Originally the term applied to works created in the artists' colony at Pont-Aven which started to emerge in the 1850s and lasted until the beginning of the 20th century. Many of the artists were inspired by the works of Paul Gauguin who spent extended periods in the area in the late 1880s and early 1890s. Their work is frequently characterised by the bold use of pure colour and their Symbolist choice of subject matter. Pont-Aven is a commune of the Finistère département, in Brittany, France, some distance inland from where the River Aven meets the Atlantic Ocean. From the 1850s painters began to frequent the village of Pont-Aven, wanting to spend their summers away from the city, on a low budget in a picturesque place not yet spoilt by tourism. Gauguin first worked in Pont-Aven in 1886. When he returned in 1888, the situation had changed: Pont-Aven was already crowded, and Gauguin looked for an alternative place to work which he found, in 1889, in Le Pouldu (today part of the community of Clohars-Carnoët), some miles off to the East at the mouth of the river Laïta, traditionally the border of the Morbihan département. There, Gauguin, accompanied by Meijer de Haan, Charles Filiger and for a while by Sérusier, spent the winter of 1889/1890 and several months afterwards Gauguin spent the summer of 1886 in the artist's colony of Pont-Aven in Brittany. He was attracted in the first place because it was cheap to live there. However, he found himself an unexpected success with the young art students who flocked there in the summer. His naturally pugilistic temperament (he was both an accomplished boxer and fencer) was no impediment in the socially relaxed seaside resort. He was remembered during that period as much for his outlandish appearance as for his art. Amongst these new associates was Charles Laval, who would accompany Gauguin the following year to Panama and Martinique. That summer, he executed some pastel drawings of nude figures in the manner of Pissarro and those by Degas exhibited at the 1886 eighth Impressionist exhibition. He mainly painted landscapes such as La Bergère Bretonne ("The Breton Shepherdess"), in which the figure plays a subordinate role. His Jeunes Bretons au bain ("Young Breton Boys Bathing"), introducing a theme he returned to each time he visited Pont-Aven, is clearly indebted to Degas in its design and bold use of pure color. The naive drawings of the English illustrator Randolph Caldecott, used to illustrate a popular guide-book on Brittany, had caught the imagination of the avant-garde student artists at Pont-Aven, anxious to free themselves from the conservatism of their academies, and Gauguin consciously imitated them in his sketches of Breton girls.[50] These sketches were later worked up into paintings back in his Paris studio. The most important of these is Four Breton Women, which shows a marked departure from his earlier Impressionist style as well as incorporating something of the naive quality of Caldecott'

Dimensions:
Height: 12.6 in (32 cm)Width: 16.54 in (42 cm)Depth: 1.58 in (4 cm)
Medium:
Oil
Movement & Style:
Post-Impressionist
Period:
1880-1889
Condition:
Gallery Location:
Frome, GB
Reference Number:
1stDibs: LU121024385442

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