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拍品专文
The sitter is Jean Renoir, born in 1894, the second son of the artist.
PRINTS BY ARMAND SEGUIN
Like many Parisian avant-garde artists of the period, Armand Seguin left the bohemian bustle of Montmartre for the Brittany coast in search of a more genuine inspiration for his art. From 1891 to 1896, gravitating towards the village of Pont-Aven, he developed friendships and worked with many of the avant-garde exiles of the day including Paul Gauguin, Emile Bernard, Maurice Denis, Paul Sérusier, and the Irish painter and engraver Roderic O'Connor.
Seguin, one of the youngest artists of the Pont-Aven group, died at the tragically young age of 34 and his work, therefore, is scarce. Seguin strove to be recognised as a painter, yet it was in his engravings and lithographs of the Breton period that he developed his expressive skills to their fullest.
In this rare set of prints, including some that have never been recorded before, one witnesses Seguin shifting from his Parisian manner, exemplified in his portrait of the printmaker Maurice Froment, to more experimental and avant-garde explorations. Indeed, Seguin's depictions of Breton peasants and landscapes, mostly executed between 1892-95, are a remarkable example of the stylistic cross-fertilisation that characterised the community of artists working in Pont-Aven and its vicinity. At various times, Seguin worked closely with Gauguin, Bernard, and O'Connor.
Through his mastery of engraving, aquatint, and lithography Seguin establishes a subtle balance between spatial volumes and decorative line. This is especially evident in his landscapes such as Les Pins or in Les Bateaux in which he arrives at a remarkable combination of the cloisoniste technique with the evocative dimension of Symbolism. In La Primavera, Seguin merges the Breton peasant, Symbolist muse, and decorative landscape, creating a compelling illustration of the aesthetic concerns of the Pont-Aven school.
As Maurice Denis noted in his review of Seguin's 1895 exhibition: "I love the subtle modelling that he imparts to his figures not so much to simulate plastic relief but in order to enhance the beauty of the contours. He has a sensitivity for deformation, he knows how to balance the requirements of sensibility with those of decoration." (M. Denis, "La Plume", vol.VII (March 1, 1895), pp.118-119. Cited in Richard Field, Cynthia Strauss, Samuel Wagstaff. The prints of Armand Seguin 1869-1903. Davison Art Center, Wesleyan University, Middletown, Connecticut, 8 February - 14 March 1980, pp.5-6)
PRINTS BY ARMAND SEGUIN
Like many Parisian avant-garde artists of the period, Armand Seguin left the bohemian bustle of Montmartre for the Brittany coast in search of a more genuine inspiration for his art. From 1891 to 1896, gravitating towards the village of Pont-Aven, he developed friendships and worked with many of the avant-garde exiles of the day including Paul Gauguin, Emile Bernard, Maurice Denis, Paul Sérusier, and the Irish painter and engraver Roderic O'Connor.
Seguin, one of the youngest artists of the Pont-Aven group, died at the tragically young age of 34 and his work, therefore, is scarce. Seguin strove to be recognised as a painter, yet it was in his engravings and lithographs of the Breton period that he developed his expressive skills to their fullest.
In this rare set of prints, including some that have never been recorded before, one witnesses Seguin shifting from his Parisian manner, exemplified in his portrait of the printmaker Maurice Froment, to more experimental and avant-garde explorations. Indeed, Seguin's depictions of Breton peasants and landscapes, mostly executed between 1892-95, are a remarkable example of the stylistic cross-fertilisation that characterised the community of artists working in Pont-Aven and its vicinity. At various times, Seguin worked closely with Gauguin, Bernard, and O'Connor.
Through his mastery of engraving, aquatint, and lithography Seguin establishes a subtle balance between spatial volumes and decorative line. This is especially evident in his landscapes such as Les Pins or in Les Bateaux in which he arrives at a remarkable combination of the cloisoniste technique with the evocative dimension of Symbolism. In La Primavera, Seguin merges the Breton peasant, Symbolist muse, and decorative landscape, creating a compelling illustration of the aesthetic concerns of the Pont-Aven school.
As Maurice Denis noted in his review of Seguin's 1895 exhibition: "I love the subtle modelling that he imparts to his figures not so much to simulate plastic relief but in order to enhance the beauty of the contours. He has a sensitivity for deformation, he knows how to balance the requirements of sensibility with those of decoration." (M. Denis, "La Plume", vol.VII (March 1, 1895), pp.118-119. Cited in Richard Field, Cynthia Strauss, Samuel Wagstaff. The prints of Armand Seguin 1869-1903. Davison Art Center, Wesleyan University, Middletown, Connecticut, 8 February - 14 March 1980, pp.5-6)