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Lot Essay
This sun-drenched painting of the picturesque seaside town of Porto Ercole captures Edward Seago’s enduring love of the Italian landscape and the mastery of the paintings he produced here.
Italy, with its rich history and natural beauty, had delighted Seago since his very first visits to Venice and Florence during the 1930s. Following his extended exposure to the Mediterranean countryside during the Italian Campaign, Seago's sojourns in various Italian regions allowed him to immerse himself in the beauty that surrounded him. From the idyllic shores of Portofino and Lake Como to the vibrant cityscapes of Rome and Naples, Seago found inspiration at every turn. The gnarled olive trees, verdant Arcadian groves, herds of goats on dusty paths, and interplay of accentuated light and shadows stirred his creative spirit, leading him to produce a body of work that reflects this newfound inspiration, while retaining the British landscape painting tradition so characteristic of his oeuvre.
Situated on the Tuscan coast, Porto Ercole captivated the artist’s imagination with its sleepy charm, rugged green hills and vibrant fishing tradition. With Porto Ercole, Italy, Seago’s ability to convey the subtleties of light and atmosphere through delicate brushwork is expressed in the seemingly effortless composition of the natural harbour, the jetty extending towards the horizon exemplifying Seago’s typically virtuosic recessional perspective. As colourful sailing boats bob gently in the glassy waters, their reflections dance across the rippling waves, mirroring the brilliant hues of the surrounding landscape. As James Reid comments, ‘Seago’s landscapes are a celebration of nature, of the glory of sky, earth and water – and of the places where human beings live, work, worship or find moments of recreation and leisure.’ (J. W. Reid, Edward Seago: The Landscape Art, London, 1991, p. 127.) Certainly, the artist’s evocation of scattered figures revelling in the natural world through mere daubs of his brush demonstrates Seago’s position at the forefront of British Impressionism.
Italy, with its rich history and natural beauty, had delighted Seago since his very first visits to Venice and Florence during the 1930s. Following his extended exposure to the Mediterranean countryside during the Italian Campaign, Seago's sojourns in various Italian regions allowed him to immerse himself in the beauty that surrounded him. From the idyllic shores of Portofino and Lake Como to the vibrant cityscapes of Rome and Naples, Seago found inspiration at every turn. The gnarled olive trees, verdant Arcadian groves, herds of goats on dusty paths, and interplay of accentuated light and shadows stirred his creative spirit, leading him to produce a body of work that reflects this newfound inspiration, while retaining the British landscape painting tradition so characteristic of his oeuvre.
Situated on the Tuscan coast, Porto Ercole captivated the artist’s imagination with its sleepy charm, rugged green hills and vibrant fishing tradition. With Porto Ercole, Italy, Seago’s ability to convey the subtleties of light and atmosphere through delicate brushwork is expressed in the seemingly effortless composition of the natural harbour, the jetty extending towards the horizon exemplifying Seago’s typically virtuosic recessional perspective. As colourful sailing boats bob gently in the glassy waters, their reflections dance across the rippling waves, mirroring the brilliant hues of the surrounding landscape. As James Reid comments, ‘Seago’s landscapes are a celebration of nature, of the glory of sky, earth and water – and of the places where human beings live, work, worship or find moments of recreation and leisure.’ (J. W. Reid, Edward Seago: The Landscape Art, London, 1991, p. 127.) Certainly, the artist’s evocation of scattered figures revelling in the natural world through mere daubs of his brush demonstrates Seago’s position at the forefront of British Impressionism.