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拍品专文
En 1886, Emile Bernard se fait renvoyer de l'atelier de Fernand Cormon à Paris pour cause de désaccord avec l'enseignement trop académique de ce dernier. Il décide alors de se rendre en Bretagne où il rencontre Gauguin et se lie à Anquetin, avec lequel il étudie les estampes japonaises. Cette forme d'art le conduit vers une simplification des formes grâce à laquelle il élabore le synthétisme.
Ce Jardin public à Mayenne, probablement exécuté lors de son voyage vers Pont-Aven, témoigne déjà de la volonté de l'artiste de rompre avec l'art impressionniste. Si des réminiscences pointillistes subsistent, leur association à une vue plongeante dans un cadrage quasi-photographique accentue le mouvement de la scène. A la modernité de cette composition s'ajoutent les prémisses du synthétisme : les formes se simplifient tandis que les couleurs, apposées par larges coups de pinceau, s'éloignent d'une retranscription fidèle de la nature au profit de l'exaltation de la valeur expressive de la couleur.
In 1886, Emile Bernard was asked to leave Fernand Cormon's atelier after disagreements over the master's rigid academic teachings. He departed for Brittany, where he joined numerous confrères who had experienced similar fates in Paris academies. Here he met Gauguin and Anquetin with whom he studied Japanese prints, and like many artists at the time, was profoundly influenced by their flatness of forms and linear narratives. Ultimately this simplification of forms would result in the birth of the Synthetist movement.
Probably executed during his journey to Pont-Aven, Jardin public à Mayenne already manifests the artist's break from impressionist techniques. While pointillist elements remain, the plunging bird's-eye viewpoint and photographic-style cropping is entirely novel and intensifies the movement of the scene. In the present work the early stages of synthetism are apparent : the forms are greatly simplified and the colours are applied with large brush strokes - the artist preferring here the expressive value of colour to any faithful transcription of nature.
Ce Jardin public à Mayenne, probablement exécuté lors de son voyage vers Pont-Aven, témoigne déjà de la volonté de l'artiste de rompre avec l'art impressionniste. Si des réminiscences pointillistes subsistent, leur association à une vue plongeante dans un cadrage quasi-photographique accentue le mouvement de la scène. A la modernité de cette composition s'ajoutent les prémisses du synthétisme : les formes se simplifient tandis que les couleurs, apposées par larges coups de pinceau, s'éloignent d'une retranscription fidèle de la nature au profit de l'exaltation de la valeur expressive de la couleur.
In 1886, Emile Bernard was asked to leave Fernand Cormon's atelier after disagreements over the master's rigid academic teachings. He departed for Brittany, where he joined numerous confrères who had experienced similar fates in Paris academies. Here he met Gauguin and Anquetin with whom he studied Japanese prints, and like many artists at the time, was profoundly influenced by their flatness of forms and linear narratives. Ultimately this simplification of forms would result in the birth of the Synthetist movement.
Probably executed during his journey to Pont-Aven, Jardin public à Mayenne already manifests the artist's break from impressionist techniques. While pointillist elements remain, the plunging bird's-eye viewpoint and photographic-style cropping is entirely novel and intensifies the movement of the scene. In the present work the early stages of synthetism are apparent : the forms are greatly simplified and the colours are applied with large brush strokes - the artist preferring here the expressive value of colour to any faithful transcription of nature.