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Lot Essay
During the summers of 1921–1926 Grigoriev frequently escaped Paris for the distant villages of Normandy and Brittany. His Breton cycle encompasses different genres; however, it is best exemplified by the portraits of distinct national types. Brittany, with its strict adherence to tradition and a careful preservation of national identity, enchanted the artist. The province, irrigated by the ocean and enriched by picturesque landscapes, served the artist as a summer getaway from bustling Paris in the 1920s. In the summer of 1923 he wrote to A. K. Shervashidze from Brittany: ‘There is much antiquity in the villages. And some historic quality in their residents fascinates me. In the summer I worked relentlessly, producing seven portraits and 40 drawings’ (quoted in T. Galeeva, Boris Grigoriev, St Petersburg, 2007, p. 138).
The artist skilfully captured the essence of local types in his portraits of fishermen and Breton girls in their national costumes. In this cycle, Grigoriev conveys his compassion for the hard-working local people, living in such austere weather conditions and draws some parallels to the hardship of the Russian peasantry, so vividly captured in his memories. Mon jardinier is one of the finest examples of the Breton portrait series to appear on the market. This local character, with his grizzled beard, steady wistful gaze and a hat, so casually protecting his head during daily labour, recalls that of Van Gogh’s portrait of Patience Escalier. Where the latter appears on a background lit by the fiery rays of the Arles sun, Grigoriev retains a restrained palette, which perfectly conveys the Breton mood. Despite their humble origins, both gardeners are depicted in a pensive pose, full of inherent dignity befitting their age.
The artist skilfully captured the essence of local types in his portraits of fishermen and Breton girls in their national costumes. In this cycle, Grigoriev conveys his compassion for the hard-working local people, living in such austere weather conditions and draws some parallels to the hardship of the Russian peasantry, so vividly captured in his memories. Mon jardinier is one of the finest examples of the Breton portrait series to appear on the market. This local character, with his grizzled beard, steady wistful gaze and a hat, so casually protecting his head during daily labour, recalls that of Van Gogh’s portrait of Patience Escalier. Where the latter appears on a background lit by the fiery rays of the Arles sun, Grigoriev retains a restrained palette, which perfectly conveys the Breton mood. Despite their humble origins, both gardeners are depicted in a pensive pose, full of inherent dignity befitting their age.