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Lot Essay
Armand Seguin fait la rencontre de Paul Gauguin en 1894 et devient rapidement l'un des théoriciens majeurs de l'Ecole de Pont-Aven. Il sera particulièrement considéré par ses pairs pour son travail de graveur. La composition représentant un couple de bretons, entouré d'arbres, admirant la mer sous un ciel orangé célèbre les valeurs chères aux artistes de Pont-Aven venus puiser leur inspiration dans ce village authentique, où Gauguin "trouve le sauvage, le primitif". La douceur des teintes employées et l'adaptation du motif décoratif des arbres et des personnages qui épousent la forme incurvée de l'éventail sont autant d'éléments qui soulignent le raffinement de cette œuvre.
Comme beaucoup d’artistes dans les années 1880 et 1890, Seguin avait à coeur de produire des éventails. Les Nabis, à l’instar des artistes anglais du mouvement Arts and Crafts, n’établissent pas de hiérarchie entre les diférentes techniques artistiques et collaborent régulièrement avec des artisans, mécènes, éditeurs et graveurs. S’agissant des éventails, plus que tout autre artiste, Seguin adapte sa composition au format particulier du support pour obtenir une oeuvre où le dynamisme et le rythme décoratif dominent.
Armand Seguin met Paul Gauguin in 1894 and quickly became one of the leading theoreticians of the Pont-Aven school. His work as a
print maker was particularly appreciated by his peers. The present composition depicting a Breton couple, enclosed by trees as they gaze at the sea beneath an orange sky, is a celebration of the values extolled by the Pont-Aven school who sought inspiration in this traditional village which Gauguin had "found untamed, primitive". The tonal range and the adaptation of the decorative motif of the trees and the fgures which marry with the curved shape of the fan constitute further elements which underline the refnement
of this work.
Like many artists of the 1880s and 1890s, Seguin was attracted to the idea of producing fans. As was the case with members of the English Arts and Crafts movement, the Nabis maintained an egalitarian attitude toward materials and collaborations with designers, patrons, publishers and printers alike. Seguin’s fans are very holistic in their imagery and form – his subjects, more than any other artist working in the medium – tend to move in obedience to the shape of the support. A curved and shifting sense of movement is the result, and the established decorative rhythm becomes paramount.
Comme beaucoup d’artistes dans les années 1880 et 1890, Seguin avait à coeur de produire des éventails. Les Nabis, à l’instar des artistes anglais du mouvement Arts and Crafts, n’établissent pas de hiérarchie entre les diférentes techniques artistiques et collaborent régulièrement avec des artisans, mécènes, éditeurs et graveurs. S’agissant des éventails, plus que tout autre artiste, Seguin adapte sa composition au format particulier du support pour obtenir une oeuvre où le dynamisme et le rythme décoratif dominent.
Armand Seguin met Paul Gauguin in 1894 and quickly became one of the leading theoreticians of the Pont-Aven school. His work as a
print maker was particularly appreciated by his peers. The present composition depicting a Breton couple, enclosed by trees as they gaze at the sea beneath an orange sky, is a celebration of the values extolled by the Pont-Aven school who sought inspiration in this traditional village which Gauguin had "found untamed, primitive". The tonal range and the adaptation of the decorative motif of the trees and the fgures which marry with the curved shape of the fan constitute further elements which underline the refnement
of this work.
Like many artists of the 1880s and 1890s, Seguin was attracted to the idea of producing fans. As was the case with members of the English Arts and Crafts movement, the Nabis maintained an egalitarian attitude toward materials and collaborations with designers, patrons, publishers and printers alike. Seguin’s fans are very holistic in their imagery and form – his subjects, more than any other artist working in the medium – tend to move in obedience to the shape of the support. A curved and shifting sense of movement is the result, and the established decorative rhythm becomes paramount.