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拍品專文
Stylistically A courtyard. Montreuil-sur-Mer is highly characteristic of Steer's use of very thick paint which began to reach a peak in 1907. Steer arrived in Montreuil in early July. It was his second visit and he was beguiled by this land locked former sea port with it's shaded boulevards, ancient bastions and alleys that yielded glimpses of half hidden gardens and courtyards.
It was also the last year in which he painted abroad - on this occasion in the company of his faithful companions Fred Brown and William Coles. His friend and future biographer, the writer D.S. MacColl, was also there. By coincidence Frank Brangwyn, with a large entourage, was also staying in the town.
This kind of genre painting was not uncommon in Britain at the turn of the century but Steer's unique handling of paint marked him apart from his contemporaries at that date.
We are grateful to Bruce Laughton for his help in preparing this catalogue entry.
It was also the last year in which he painted abroad - on this occasion in the company of his faithful companions Fred Brown and William Coles. His friend and future biographer, the writer D.S. MacColl, was also there. By coincidence Frank Brangwyn, with a large entourage, was also staying in the town.
This kind of genre painting was not uncommon in Britain at the turn of the century but Steer's unique handling of paint marked him apart from his contemporaries at that date.
We are grateful to Bruce Laughton for his help in preparing this catalogue entry.