305
Jean-Baptiste-Armand GuillauminLe Moulin Brigand et les ruines du Château de Crozant, Creuse Öl
In Modern Art
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Jean-Baptiste-Armand Guillaumin
Le Moulin Brigand et les ruines du Château de Crozant, Creuse
Öl auf Leinwand, doubliert. 33 x 46 cm. Gerahmt. Unbezeichnet. Rückseitig mit Tinte auf dem Keilrahmen von fremder Hand betitelt und datiert "Paysage à Crozant 1900".
Nicht bei Serret/Fabiani
Mit einer Expertise vom Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri und Jacques de la Béraudière, Paris, vom 12. Juli 2017. Das Gemälde wird vom Comité Guillaumin in den 2. Bd. des Catalogue Raisonné aufgenommen.
Provenienz
Privatsammlung Hessen
Nach einer wechselvollen Ausbildung nicht nur zum Künstler zählt Guillaumin zu den Wegbereitern einer von Eduard Manet verfochtenen Maltheorie, wird er von Paul Cézanne in den Kreis um den Schriftsteller und Sammler Émile Zola eingeführt und verkehrt in dem Atelier von Frédéric Bazille, einem Salon und bekannten Treff. Mit Camille Pissarro und Cézanne malt Guillaumin Landschaften etwa bei Pontoise und entwickelt sich zu einer bemerkenswerten Größe unter den Impressionisten mit dem Ziel, ein Gefühl für die eigentliche Form der Natur zu entfalten. Sein Malstil und seine Pinselführung werden sich fortan an der Technik Cézannes orientieren, mit der es ihm gelingt, seinen Landschaften in Komposition und Farbgebung eine feine Struktur zu verleihen.
Auch in diesem von herbstlichem Licht eingenommenen Gemälde der Jahrhundertwende ist Guillaumin seiner gewonnenen Systematik treu. Er schließt sich stilistisch ein wenig den Neo-Impressionisten an und setzt bisweilen deren von der Natur ungebundenen Farbpalette ein. Guillaumin folgt der pedantischen Theorie eines Paul Signac dabei nicht bedingungslos, sondern er wird seinen Pinselduktus durchaus den landschaftlichen Gegebenheiten anpassen, wie hier an dem Beispiel der "Paysage à Crozant" wunderbar zu beobachten ist. Es sind dies feine Nuancen in den nebeneinander gesetzten Farben, mit denen der Künstler die herbstlich belaubten Bäume im Vordergrund beschreibt und den tief in die Landschaft eingeschnittenen Fluss der Creuse nachzeichnet. In einem weiten Bogen umspült sie den mächtigen Felsen mit der bekrönenden Bergruine von Crozant als historisch trächtigen „Point de vue“.
Die "Paysage à Crozant" ist eine klassische Landschaft eines schon reifen Malers; mit seiner Palette allerdings vermag er Ausschau zu halten in Richtung der noch ganz jungen Fauves.
Jean-Baptiste Armand Guillaumin
Le Moulin Brigand et les ruines du Château de Crozant, Creuse
Oil on canvas, relined. 33 x 46 cm. Framed. Unsigned. Titled and dated "Paysage à Crozant 1900" in ink by another hand verso on the stretcher.
Not recorded by Serret/Fabiani
With an expert report from the Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri and Jacques de la Béraudière, Paris, dated 12 July 2017. The painting will be included in the 2nd vol. of the catalogue raisonné by the Comité Guillaumin.
Provenance
Private collection, Hesse
After a varied education not just as an artist, Guillaumin became one of the pioneers of a theory of painting championed by Eduard Manet, was introduced by Paul Cézanne to the circle around the writer and collector Émile Zola and frequented the studio of Frédéric Bazille - a salon and well-known meeting place. Together with Camille Pissarro and Cézanne, Guillaumin painted landscapes including that near Pontoise, and he grew into a remarkable figure among the Impressionists seeking to develop a feeling for the genuine form of nature. From then on his style of painting and his brushstroke were based on Cézanne's technique, which enabled him to succeed in investing his landscapes with a subtle structure in their composition and tonality.
Guillaumin also remains true to his system in this turn-of-the-century painting filled with autumnal light. Stylistically, he turns slightly towards neo-impressionism, sometimes employing its palette unbound by nature. In doing so, Guillaumin does not unconditionally adhere to the pedantic theory of Paul Signac, instead, he certainly adapts his brushstroke to the features of the landscape, as can be observed wonderfully in the case of "Paysage à Crozant". It is these subtle nuances in the colours placed side by side which the artist uses to describe the trees in the foreground, with their autumnal leaves, and to trace Creuse river, which cuts deeply into the landscape. In a wide bend it washes around the massive rock crowned by the castle ruins of Crozant, a richly historical “point de vue”.
The "Paysage à Crozant" is a classical landscape by an already mature painter; however, with his palette he is nonetheless able to keep his eyes open to the direction being pursued by the still very young Fauves.
Le Moulin Brigand et les ruines du Château de Crozant, Creuse
Öl auf Leinwand, doubliert. 33 x 46 cm. Gerahmt. Unbezeichnet. Rückseitig mit Tinte auf dem Keilrahmen von fremder Hand betitelt und datiert "Paysage à Crozant 1900".
Nicht bei Serret/Fabiani
Mit einer Expertise vom Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri und Jacques de la Béraudière, Paris, vom 12. Juli 2017. Das Gemälde wird vom Comité Guillaumin in den 2. Bd. des Catalogue Raisonné aufgenommen.
Provenienz
Privatsammlung Hessen
Nach einer wechselvollen Ausbildung nicht nur zum Künstler zählt Guillaumin zu den Wegbereitern einer von Eduard Manet verfochtenen Maltheorie, wird er von Paul Cézanne in den Kreis um den Schriftsteller und Sammler Émile Zola eingeführt und verkehrt in dem Atelier von Frédéric Bazille, einem Salon und bekannten Treff. Mit Camille Pissarro und Cézanne malt Guillaumin Landschaften etwa bei Pontoise und entwickelt sich zu einer bemerkenswerten Größe unter den Impressionisten mit dem Ziel, ein Gefühl für die eigentliche Form der Natur zu entfalten. Sein Malstil und seine Pinselführung werden sich fortan an der Technik Cézannes orientieren, mit der es ihm gelingt, seinen Landschaften in Komposition und Farbgebung eine feine Struktur zu verleihen.
Auch in diesem von herbstlichem Licht eingenommenen Gemälde der Jahrhundertwende ist Guillaumin seiner gewonnenen Systematik treu. Er schließt sich stilistisch ein wenig den Neo-Impressionisten an und setzt bisweilen deren von der Natur ungebundenen Farbpalette ein. Guillaumin folgt der pedantischen Theorie eines Paul Signac dabei nicht bedingungslos, sondern er wird seinen Pinselduktus durchaus den landschaftlichen Gegebenheiten anpassen, wie hier an dem Beispiel der "Paysage à Crozant" wunderbar zu beobachten ist. Es sind dies feine Nuancen in den nebeneinander gesetzten Farben, mit denen der Künstler die herbstlich belaubten Bäume im Vordergrund beschreibt und den tief in die Landschaft eingeschnittenen Fluss der Creuse nachzeichnet. In einem weiten Bogen umspült sie den mächtigen Felsen mit der bekrönenden Bergruine von Crozant als historisch trächtigen „Point de vue“.
Die "Paysage à Crozant" ist eine klassische Landschaft eines schon reifen Malers; mit seiner Palette allerdings vermag er Ausschau zu halten in Richtung der noch ganz jungen Fauves.
Jean-Baptiste Armand Guillaumin
Le Moulin Brigand et les ruines du Château de Crozant, Creuse
Oil on canvas, relined. 33 x 46 cm. Framed. Unsigned. Titled and dated "Paysage à Crozant 1900" in ink by another hand verso on the stretcher.
Not recorded by Serret/Fabiani
With an expert report from the Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri and Jacques de la Béraudière, Paris, dated 12 July 2017. The painting will be included in the 2nd vol. of the catalogue raisonné by the Comité Guillaumin.
Provenance
Private collection, Hesse
After a varied education not just as an artist, Guillaumin became one of the pioneers of a theory of painting championed by Eduard Manet, was introduced by Paul Cézanne to the circle around the writer and collector Émile Zola and frequented the studio of Frédéric Bazille - a salon and well-known meeting place. Together with Camille Pissarro and Cézanne, Guillaumin painted landscapes including that near Pontoise, and he grew into a remarkable figure among the Impressionists seeking to develop a feeling for the genuine form of nature. From then on his style of painting and his brushstroke were based on Cézanne's technique, which enabled him to succeed in investing his landscapes with a subtle structure in their composition and tonality.
Guillaumin also remains true to his system in this turn-of-the-century painting filled with autumnal light. Stylistically, he turns slightly towards neo-impressionism, sometimes employing its palette unbound by nature. In doing so, Guillaumin does not unconditionally adhere to the pedantic theory of Paul Signac, instead, he certainly adapts his brushstroke to the features of the landscape, as can be observed wonderfully in the case of "Paysage à Crozant". It is these subtle nuances in the colours placed side by side which the artist uses to describe the trees in the foreground, with their autumnal leaves, and to trace Creuse river, which cuts deeply into the landscape. In a wide bend it washes around the massive rock crowned by the castle ruins of Crozant, a richly historical “point de vue”.
The "Paysage à Crozant" is a classical landscape by an already mature painter; however, with his palette he is nonetheless able to keep his eyes open to the direction being pursued by the still very young Fauves.
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Jean-Baptiste-Armand Guillaumin
Le Moulin Brigand et les ruines du Château de Crozant, Creuse
Öl auf Leinwand, doubliert. 33 x 46 cm. Gerahmt. Unbezeichnet. Rückseitig mit Tinte auf dem Keilrahmen von fremder Hand betitelt und datiert "Paysage à Crozant 1900".
Nicht bei Serret/Fabiani
Mit einer Expertise vom Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri und Jacques de la Béraudière, Paris, vom 12. Juli 2017. Das Gemälde wird vom Comité Guillaumin in den 2. Bd. des Catalogue Raisonné aufgenommen.
Provenienz
Privatsammlung Hessen
Nach einer wechselvollen Ausbildung nicht nur zum Künstler zählt Guillaumin zu den Wegbereitern einer von Eduard Manet verfochtenen Maltheorie, wird er von Paul Cézanne in den Kreis um den Schriftsteller und Sammler Émile Zola eingeführt und verkehrt in dem Atelier von Frédéric Bazille, einem Salon und bekannten Treff. Mit Camille Pissarro und Cézanne malt Guillaumin Landschaften etwa bei Pontoise und entwickelt sich zu einer bemerkenswerten Größe unter den Impressionisten mit dem Ziel, ein Gefühl für die eigentliche Form der Natur zu entfalten. Sein Malstil und seine Pinselführung werden sich fortan an der Technik Cézannes orientieren, mit der es ihm gelingt, seinen Landschaften in Komposition und Farbgebung eine feine Struktur zu verleihen.
Auch in diesem von herbstlichem Licht eingenommenen Gemälde der Jahrhundertwende ist Guillaumin seiner gewonnenen Systematik treu. Er schließt sich stilistisch ein wenig den Neo-Impressionisten an und setzt bisweilen deren von der Natur ungebundenen Farbpalette ein. Guillaumin folgt der pedantischen Theorie eines Paul Signac dabei nicht bedingungslos, sondern er wird seinen Pinselduktus durchaus den landschaftlichen Gegebenheiten anpassen, wie hier an dem Beispiel der "Paysage à Crozant" wunderbar zu beobachten ist. Es sind dies feine Nuancen in den nebeneinander gesetzten Farben, mit denen der Künstler die herbstlich belaubten Bäume im Vordergrund beschreibt und den tief in die Landschaft eingeschnittenen Fluss der Creuse nachzeichnet. In einem weiten Bogen umspült sie den mächtigen Felsen mit der bekrönenden Bergruine von Crozant als historisch trächtigen „Point de vue“.
Die "Paysage à Crozant" ist eine klassische Landschaft eines schon reifen Malers; mit seiner Palette allerdings vermag er Ausschau zu halten in Richtung der noch ganz jungen Fauves.
Jean-Baptiste Armand Guillaumin
Le Moulin Brigand et les ruines du Château de Crozant, Creuse
Oil on canvas, relined. 33 x 46 cm. Framed. Unsigned. Titled and dated "Paysage à Crozant 1900" in ink by another hand verso on the stretcher.
Not recorded by Serret/Fabiani
With an expert report from the Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri and Jacques de la Béraudière, Paris, dated 12 July 2017. The painting will be included in the 2nd vol. of the catalogue raisonné by the Comité Guillaumin.
Provenance
Private collection, Hesse
After a varied education not just as an artist, Guillaumin became one of the pioneers of a theory of painting championed by Eduard Manet, was introduced by Paul Cézanne to the circle around the writer and collector Émile Zola and frequented the studio of Frédéric Bazille - a salon and well-known meeting place. Together with Camille Pissarro and Cézanne, Guillaumin painted landscapes including that near Pontoise, and he grew into a remarkable figure among the Impressionists seeking to develop a feeling for the genuine form of nature. From then on his style of painting and his brushstroke were based on Cézanne's technique, which enabled him to succeed in investing his landscapes with a subtle structure in their composition and tonality.
Guillaumin also remains true to his system in this turn-of-the-century painting filled with autumnal light. Stylistically, he turns slightly towards neo-impressionism, sometimes employing its palette unbound by nature. In doing so, Guillaumin does not unconditionally adhere to the pedantic theory of Paul Signac, instead, he certainly adapts his brushstroke to the features of the landscape, as can be observed wonderfully in the case of "Paysage à Crozant". It is these subtle nuances in the colours placed side by side which the artist uses to describe the trees in the foreground, with their autumnal leaves, and to trace Creuse river, which cuts deeply into the landscape. In a wide bend it washes around the massive rock crowned by the castle ruins of Crozant, a richly historical “point de vue”.
The "Paysage à Crozant" is a classical landscape by an already mature painter; however, with his palette he is nonetheless able to keep his eyes open to the direction being pursued by the still very young Fauves.
Le Moulin Brigand et les ruines du Château de Crozant, Creuse
Öl auf Leinwand, doubliert. 33 x 46 cm. Gerahmt. Unbezeichnet. Rückseitig mit Tinte auf dem Keilrahmen von fremder Hand betitelt und datiert "Paysage à Crozant 1900".
Nicht bei Serret/Fabiani
Mit einer Expertise vom Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri und Jacques de la Béraudière, Paris, vom 12. Juli 2017. Das Gemälde wird vom Comité Guillaumin in den 2. Bd. des Catalogue Raisonné aufgenommen.
Provenienz
Privatsammlung Hessen
Nach einer wechselvollen Ausbildung nicht nur zum Künstler zählt Guillaumin zu den Wegbereitern einer von Eduard Manet verfochtenen Maltheorie, wird er von Paul Cézanne in den Kreis um den Schriftsteller und Sammler Émile Zola eingeführt und verkehrt in dem Atelier von Frédéric Bazille, einem Salon und bekannten Treff. Mit Camille Pissarro und Cézanne malt Guillaumin Landschaften etwa bei Pontoise und entwickelt sich zu einer bemerkenswerten Größe unter den Impressionisten mit dem Ziel, ein Gefühl für die eigentliche Form der Natur zu entfalten. Sein Malstil und seine Pinselführung werden sich fortan an der Technik Cézannes orientieren, mit der es ihm gelingt, seinen Landschaften in Komposition und Farbgebung eine feine Struktur zu verleihen.
Auch in diesem von herbstlichem Licht eingenommenen Gemälde der Jahrhundertwende ist Guillaumin seiner gewonnenen Systematik treu. Er schließt sich stilistisch ein wenig den Neo-Impressionisten an und setzt bisweilen deren von der Natur ungebundenen Farbpalette ein. Guillaumin folgt der pedantischen Theorie eines Paul Signac dabei nicht bedingungslos, sondern er wird seinen Pinselduktus durchaus den landschaftlichen Gegebenheiten anpassen, wie hier an dem Beispiel der "Paysage à Crozant" wunderbar zu beobachten ist. Es sind dies feine Nuancen in den nebeneinander gesetzten Farben, mit denen der Künstler die herbstlich belaubten Bäume im Vordergrund beschreibt und den tief in die Landschaft eingeschnittenen Fluss der Creuse nachzeichnet. In einem weiten Bogen umspült sie den mächtigen Felsen mit der bekrönenden Bergruine von Crozant als historisch trächtigen „Point de vue“.
Die "Paysage à Crozant" ist eine klassische Landschaft eines schon reifen Malers; mit seiner Palette allerdings vermag er Ausschau zu halten in Richtung der noch ganz jungen Fauves.
Jean-Baptiste Armand Guillaumin
Le Moulin Brigand et les ruines du Château de Crozant, Creuse
Oil on canvas, relined. 33 x 46 cm. Framed. Unsigned. Titled and dated "Paysage à Crozant 1900" in ink by another hand verso on the stretcher.
Not recorded by Serret/Fabiani
With an expert report from the Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri and Jacques de la Béraudière, Paris, dated 12 July 2017. The painting will be included in the 2nd vol. of the catalogue raisonné by the Comité Guillaumin.
Provenance
Private collection, Hesse
After a varied education not just as an artist, Guillaumin became one of the pioneers of a theory of painting championed by Eduard Manet, was introduced by Paul Cézanne to the circle around the writer and collector Émile Zola and frequented the studio of Frédéric Bazille - a salon and well-known meeting place. Together with Camille Pissarro and Cézanne, Guillaumin painted landscapes including that near Pontoise, and he grew into a remarkable figure among the Impressionists seeking to develop a feeling for the genuine form of nature. From then on his style of painting and his brushstroke were based on Cézanne's technique, which enabled him to succeed in investing his landscapes with a subtle structure in their composition and tonality.
Guillaumin also remains true to his system in this turn-of-the-century painting filled with autumnal light. Stylistically, he turns slightly towards neo-impressionism, sometimes employing its palette unbound by nature. In doing so, Guillaumin does not unconditionally adhere to the pedantic theory of Paul Signac, instead, he certainly adapts his brushstroke to the features of the landscape, as can be observed wonderfully in the case of "Paysage à Crozant". It is these subtle nuances in the colours placed side by side which the artist uses to describe the trees in the foreground, with their autumnal leaves, and to trace Creuse river, which cuts deeply into the landscape. In a wide bend it washes around the massive rock crowned by the castle ruins of Crozant, a richly historical “point de vue”.
The "Paysage à Crozant" is a classical landscape by an already mature painter; however, with his palette he is nonetheless able to keep his eyes open to the direction being pursued by the still very young Fauves.
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