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Lot Essay
Après avoir étudié à l'Académie des Beaux-Arts d'Amsterdam, Jan Verkade arrive à Paris en 1891 où il rencontre son compatriote Meyer de Haan ainsi que Paul Sérusier et Maurice Denis qui lui enseignent les principes d'une nouvelle esthétique. Il se rend à Pont-Aven en 1893 où il se plaît à représenter les bretons et la spiritualité qui les anime (voir lots 53 et 63). Profondément mystique - sa grande piété lui vaudra d'être surnommé "Le Nabi obéliscal" - ce protestant sera converti au catholicisme par le prêtre de Saint-Nolff dont l'église est représentée dans la présente oeuvre.
Having completed his studies at the Académie des Beaux-Arts in Amsterdam, in 1891 Verkade arrived in Paris where he met up with his confrère Meyer de Haan, who along with Paul Sérusier and Maurice Denis, taught him the principles of their new aesthetic approach. In 1893 Verkade arrived in Pont-Aven, where he fully integrated the local Bretons and the surrounding landscape as his subject matter, including the spirituality which animated them (see lots 53 and 63). Intensely pious, this young man of Protestant stock was converted to Catholicism by the Priest of Saint-Nolff, the church represented in the present gouache.
Having completed his studies at the Académie des Beaux-Arts in Amsterdam, in 1891 Verkade arrived in Paris where he met up with his confrère Meyer de Haan, who along with Paul Sérusier and Maurice Denis, taught him the principles of their new aesthetic approach. In 1893 Verkade arrived in Pont-Aven, where he fully integrated the local Bretons and the surrounding landscape as his subject matter, including the spirituality which animated them (see lots 53 and 63). Intensely pious, this young man of Protestant stock was converted to Catholicism by the Priest of Saint-Nolff, the church represented in the present gouache.