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拍品專文
The Wildenstein Institute will include this painting in their forthcoming supplement to the Gauguin catalogue raisonn.
This work was originally dated 1881 by Hans Platte in the catalogue for the 1963 exhibition in Hamburg (op. cit.) and titled Landscape at Osny. The Wildenstein Institute, however, has indicated that Platte's identification of this painting as having been once titled Un moreau de jardin and shown as number 20 in the Seventh Impressionist Exhibition is erroneous and believes the painting then exhibited to have been Jardin Quai de Ponthius, Pontoise (Wildenstein, no. 58, location unknown).
Sylistically it would appear that this work deserves the later date. During this first year of his new vocation as a full-time artist, Gauguin noticeably simplified and melded the surface of his paintings. The same technique and palette are found in Entre de village (Wildenstein, no. 121; coll. Museum of Fine Arts, Boston).
Although the influence of Pissarro is still very apparent in the brushwork of Paysage Rouen, Czanne's impact is marked, Gauguin having purchased two landscapes by the artist the previous year. The tight composition, strongly defined forms and pronounced outlines of this work were to become much more evident in Gauguin's mature style.
When Gauguin left his wife, Mette and his family in Copenhagen and returned to Paris in 1885, he left this painting with her as a part of a large collection of his work as well as paintings by Pissarro, Czanne and Manet. Retaining a few works for herself, including this one, Mette, gradually sold off most of the collection to Danish friends and relatives, keeping Paysage Rouen among a few others.
This work was originally dated 1881 by Hans Platte in the catalogue for the 1963 exhibition in Hamburg (op. cit.) and titled Landscape at Osny. The Wildenstein Institute, however, has indicated that Platte's identification of this painting as having been once titled Un moreau de jardin and shown as number 20 in the Seventh Impressionist Exhibition is erroneous and believes the painting then exhibited to have been Jardin Quai de Ponthius, Pontoise (Wildenstein, no. 58, location unknown).
Sylistically it would appear that this work deserves the later date. During this first year of his new vocation as a full-time artist, Gauguin noticeably simplified and melded the surface of his paintings. The same technique and palette are found in Entre de village (Wildenstein, no. 121; coll. Museum of Fine Arts, Boston).
Although the influence of Pissarro is still very apparent in the brushwork of Paysage Rouen, Czanne's impact is marked, Gauguin having purchased two landscapes by the artist the previous year. The tight composition, strongly defined forms and pronounced outlines of this work were to become much more evident in Gauguin's mature style.
When Gauguin left his wife, Mette and his family in Copenhagen and returned to Paris in 1885, he left this painting with her as a part of a large collection of his work as well as paintings by Pissarro, Czanne and Manet. Retaining a few works for herself, including this one, Mette, gradually sold off most of the collection to Danish friends and relatives, keeping Paysage Rouen among a few others.