拍品专文
Painted in 1884 when Gaugin was living in Rouen, this work is one in a series of portraits of farms and rural villages that Gauguin executed beginning in 1879. As Charles Stuckey has written, these paintings by Gauguin exemplify:
a modern realist, albeit picturesque, genre of landscape painting developed by Corot around 1830 and subsequently adopted by Pissarro, Cezanne, and van Gogh. Characterized by irregular rooftop silhouettes and alternately bright and dark wall planes registering the fall of light, this genre celebrates the elementary geometry of shelter and workplace. Gauguin bought a landscape of this sort that Cezanne painted in 1880, while he was visiting Zola at his country home (C. Stuckey, in Paul Gauguin, exh. cat., Natinal Gallery of Art, Washington, D.C., 1988, p. 20)
Like Barbizon and Impressionists painters before him, Gauguin was attracted to pastoral and rural themes as an emblem of a pristine past, free from the complications and corruptions of modern civilized life. The present painting, with its depiction of a farmer making hay, represents the kind of fundamental and immemorial labor glorified by French artists from Corot to Seurat.
Le rentree du foin shows Gauguin working at the peak of his Impressionist period. The palette, with its emphasis on greens, blues and purples, is like that of Pissarro and Monet (although the red accents in the middle distance are hints of Gauguin's future coloristic exuberance). The brushwork, too, is close to that of his Impressionist allies--compact, structured, descriptive. Still, looking at this picture, it is easy to see the foundation of the artist's evolution over the next few years at Martinique and Pont-Aven. Le rentree du foin is an excellent example of the painter's style in the early to middle 1880s.
a modern realist, albeit picturesque, genre of landscape painting developed by Corot around 1830 and subsequently adopted by Pissarro, Cezanne, and van Gogh. Characterized by irregular rooftop silhouettes and alternately bright and dark wall planes registering the fall of light, this genre celebrates the elementary geometry of shelter and workplace. Gauguin bought a landscape of this sort that Cezanne painted in 1880, while he was visiting Zola at his country home (C. Stuckey, in Paul Gauguin, exh. cat., Natinal Gallery of Art, Washington, D.C., 1988, p. 20)
Like Barbizon and Impressionists painters before him, Gauguin was attracted to pastoral and rural themes as an emblem of a pristine past, free from the complications and corruptions of modern civilized life. The present painting, with its depiction of a farmer making hay, represents the kind of fundamental and immemorial labor glorified by French artists from Corot to Seurat.
Le rentree du foin shows Gauguin working at the peak of his Impressionist period. The palette, with its emphasis on greens, blues and purples, is like that of Pissarro and Monet (although the red accents in the middle distance are hints of Gauguin's future coloristic exuberance). The brushwork, too, is close to that of his Impressionist allies--compact, structured, descriptive. Still, looking at this picture, it is easy to see the foundation of the artist's evolution over the next few years at Martinique and Pont-Aven. Le rentree du foin is an excellent example of the painter's style in the early to middle 1880s.