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拍品專文
Portrait de Mai Chaipp was painted in 1889, the year after Srusier's ground-breaking meeting with Gauguin and Bernard in Pont Aven, when he painted his famous Talisman, the highly influential work that was to become a pivitol image of the Nabis.
Srusier's work of 1889-90 shows a great debt to Gauguin, and some of his most important paintings were executed during their brief but fruitful friendship, such as La Savoyarde ou jeune paysanne tricotant (Guicheteau 28), and Les deux Bretonnes sous le pommier en fleurs (G.30). The broad modelling, closely knit brushwork and flat composition of Srusier's work of this period call to mind Gauguin's La Belle Angle (Muse d'Orsay, Paris; Wildenstein 315) and Jeune Bretonne (Private Collection; W.31).
Portrait de Mai Chaipp was probably painted after Srusier's visit to the Pavilion Javanais at the Exposition Universelle in May 1889. The European clothing of the sitter suggests that the work was painted in Paris, and that he was possibly one of the national representatives of the pavilion. Here Srusier again encountered Gauguin who had come to the exhibition specifically to see the far eastern pavilions, which revived in him the desire to travel in search of fresh and primitive subject matter for his art. After his visit to the Exposition Universelle Srusier restated his debt to Gauguin, and commented "J'avais absorbe le poison, m'a-t-il declare. J'ai dit a Gauguin : "Je suis des votres". Il a ete bien surpris" (C. Chasse, Gauguin sans legendes, Paris, 1965, p. 34).
The unusual feature of the red ledge at the bottom of the picture is reminiscent of Old Master portraiture, for example Giovanni Bellini's Portrait of the Doge Leonardo Loredan (National Gallery, London) or Jean Clouet's Portrait of Francis I (Louvre, Paris), and provides a formal setting for the sitter.
Srusier's work of 1889-90 shows a great debt to Gauguin, and some of his most important paintings were executed during their brief but fruitful friendship, such as La Savoyarde ou jeune paysanne tricotant (Guicheteau 28), and Les deux Bretonnes sous le pommier en fleurs (G.30). The broad modelling, closely knit brushwork and flat composition of Srusier's work of this period call to mind Gauguin's La Belle Angle (Muse d'Orsay, Paris; Wildenstein 315) and Jeune Bretonne (Private Collection; W.31).
Portrait de Mai Chaipp was probably painted after Srusier's visit to the Pavilion Javanais at the Exposition Universelle in May 1889. The European clothing of the sitter suggests that the work was painted in Paris, and that he was possibly one of the national representatives of the pavilion. Here Srusier again encountered Gauguin who had come to the exhibition specifically to see the far eastern pavilions, which revived in him the desire to travel in search of fresh and primitive subject matter for his art. After his visit to the Exposition Universelle Srusier restated his debt to Gauguin, and commented "J'avais absorbe le poison, m'a-t-il declare. J'ai dit a Gauguin : "Je suis des votres". Il a ete bien surpris" (C. Chasse, Gauguin sans legendes, Paris, 1965, p. 34).
The unusual feature of the red ledge at the bottom of the picture is reminiscent of Old Master portraiture, for example Giovanni Bellini's Portrait of the Doge Leonardo Loredan (National Gallery, London) or Jean Clouet's Portrait of Francis I (Louvre, Paris), and provides a formal setting for the sitter.