拍品專文
本作品將被收錄於由曼努埃爾．施密特編纂的歐仁．布丹作品全集
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莫內與布丹莫內在1900年11月19日致法朗索瓦．蒂博─西森(François Thiébault-Sisson) 的信中寫道：「我從小便喜歡繪畫……但我拒絕上課，從不按部就班，也未曾踏足畫室……我在年輕時有幸認識畫家歐仁．布丹，他帶領我認識自然世界，令我愛上大自然。」莫內於1850年代在勒阿弗爾結識布丹，並迅速成為好友。布丹被認為是當時最重要的粉彩畫家之一，尤其是他天空主題的作品，曾於1859年在巴黎藝壇轟動一時，從而被喻為「天空大師」。查爾斯．波德萊爾 (Charles Baudelaire) 毫不掩飾地讚美布丹的粉彩畫具有「令人癡迷的空氣與水」(J．A．甘斯及R．肯德爾著，同上，第62頁)，同時亦讚嘆他對自然的描繪有如「氣象記錄」般精準 (C．波德萊爾，引自《La Revue Française》，1859年6月)。在密切來往過程中，莫內很快就聽從了這位前輩的教導，嘗試以多種題材和媒介來創作類似題材，並探索大自然瞬息萬變的效果。和莫內一樣，布丹也是自學成才，擅長運用各種繪畫媒材，並在素描簿上創作了大量即興習作，其中也不乏構圖講究、附有完整簽名和題字的作品 (拍品編號106至114)，顯現了他的現代風格。布丹熱衷於描繪沙灘、海港及碼頭，莫內收藏這些的布丹水彩作品，正是布丹這一獨特品味與風格的典型例證。克勞德．莫內家族珍藏
歐仁．布丹 (1824-1898)
海面
細節
歐仁．布丹 (1824-1898)
海面
模糊簡簽印：E.B (Lugt 828；右下)
鉛筆 羅紋紙
4 3/8 x 5 ½ 吋 (11 x 14 公分)
海面
模糊簡簽印：E.B (Lugt 828；右下)
鉛筆 羅紋紙
4 3/8 x 5 ½ 吋 (11 x 14 公分)
來源
吉維尼克勞德．莫內
吉維尼米歇爾．莫內 (繼承自上述收藏)
法國羅朗德．韋爾內熱 (受贈自上述收藏)
現藏家繼承自上述收藏
吉維尼米歇爾．莫內 (繼承自上述收藏)
法國羅朗德．韋爾內熱 (受贈自上述收藏)
現藏家繼承自上述收藏
更多詳情
In a letter to François Thiébault-Sisson dated from the 19 November 1900, Monet wrote “from my earliest childhood I loved to draw (...) refusing to be taught, I never followed any studies or entered any studios. (...) while still very young I was fortunate enough to meet the painter Eugène Boudin, who opened up my eyes to nature and gave me a love of her”.
Monet first met Boudin in Le Havre during the 1850’s, and quickly developed a close friendship with the artist. Considered one of the most radical pastel-makers of the day, Boudin’s sky studies first came to the attention of the Parisian art world in 1859, earning him the moniker “the king of skies”. Charles Baudelaire, writing abut the artist’s work, made no attempt to hide his great admiration for the “prodigious enchantments of air and water” in Boudin’s pastels (J. A. Ganz and R. Kendall., quoted in op. cit., p. 62), while also noting their accuracy as “records of meteorological effects” (C. Baudelaire quoted in La Revue Française, June 1859).
Feeling an immediate connection with Boudin, Monet quickly began to absorb the teachings of his mentor, experimenting with similar subject matter and media, and exploring the fleeting effects of different atmospheric conditions in his work. Largely self-taught, like Monet himself, Boudin was prodigious in his use of the graphic medium, making many hundreds of informal studies in his sketchbooks and on independent sheets, as well as a number of elaborated, signed and sometimes inscribed compositions (lots 106 to 114) that clearly illustrate the artist’s modernity. The watercolors in Monet’s collection are typical examples of the unique taste and style of Boudin, who was such an assiduous painter of beaches, harbours and piers.
Monet first met Boudin in Le Havre during the 1850’s, and quickly developed a close friendship with the artist. Considered one of the most radical pastel-makers of the day, Boudin’s sky studies first came to the attention of the Parisian art world in 1859, earning him the moniker “the king of skies”. Charles Baudelaire, writing abut the artist’s work, made no attempt to hide his great admiration for the “prodigious enchantments of air and water” in Boudin’s pastels (J. A. Ganz and R. Kendall., quoted in op. cit., p. 62), while also noting their accuracy as “records of meteorological effects” (C. Baudelaire quoted in La Revue Française, June 1859).
Feeling an immediate connection with Boudin, Monet quickly began to absorb the teachings of his mentor, experimenting with similar subject matter and media, and exploring the fleeting effects of different atmospheric conditions in his work. Largely self-taught, like Monet himself, Boudin was prodigious in his use of the graphic medium, making many hundreds of informal studies in his sketchbooks and on independent sheets, as well as a number of elaborated, signed and sometimes inscribed compositions (lots 106 to 114) that clearly illustrate the artist’s modernity. The watercolors in Monet’s collection are typical examples of the unique taste and style of Boudin, who was such an assiduous painter of beaches, harbours and piers.
榮譽呈獻
Elaine Holt