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拍品专文
Gauguin submitted nineteen of his best canvases, including the evocative Paysage d'hiver, to the eighth and final Impressionist exhibition in 1886, staged at 1 Rue Lafitte in Paris. His works included several still lifes, such as the Philadelphia Art Museum's Still Life with Moss Roses in a Basket (circa 1884-1885) and a portrait; but the vast majority of his contributions to the exhibition were landscapes.
Art critic Gustave Geffroy praised Gauguin for the diversity of views, from Copenhagen to Rouen and Normandy, that he displayed at the exhibition, as well as the formal construction of his paintings: "He has searched out willows, ponds, farmyards, and roads...There is firmness in most of these studies and an understanding of the dominant effect" (La Justice, 26 May 1886). Paul Adam, meanwhile, sensed melancholy in Gauguin's landscapes and described them in dramatic terms: "Nature, as Gauguin paints it...[evokes] the egoistic sadness of vegetation, the unguessable life that one senses in it, the way it seems to brood" (La Revue Contemporaine, April 1886). Henry Fèvre, writing in La Revue de Demain, was far less complimentary: "Frequent shortcomings weaken Gauguin's painting. It is tossed off pell-mell with confused perspective and somewhat smothered colors" (May-June 1886; all quoted in M. Ward, op.cit., pp. 456-457.)
We now recognize Gauguin's "pell-mell" of "smothered colors" as the work of an ambitious modern artist who interpreted his visual observations and sensory experiences with expressive strokes of paint. In Paysage d'hiver, orange, forest green and marine blue brushstrokes come to represent the dormant foliage of winter.
Art critic Gustave Geffroy praised Gauguin for the diversity of views, from Copenhagen to Rouen and Normandy, that he displayed at the exhibition, as well as the formal construction of his paintings: "He has searched out willows, ponds, farmyards, and roads...There is firmness in most of these studies and an understanding of the dominant effect" (La Justice, 26 May 1886). Paul Adam, meanwhile, sensed melancholy in Gauguin's landscapes and described them in dramatic terms: "Nature, as Gauguin paints it...[evokes] the egoistic sadness of vegetation, the unguessable life that one senses in it, the way it seems to brood" (La Revue Contemporaine, April 1886). Henry Fèvre, writing in La Revue de Demain, was far less complimentary: "Frequent shortcomings weaken Gauguin's painting. It is tossed off pell-mell with confused perspective and somewhat smothered colors" (May-June 1886; all quoted in M. Ward, op.cit., pp. 456-457.)
We now recognize Gauguin's "pell-mell" of "smothered colors" as the work of an ambitious modern artist who interpreted his visual observations and sensory experiences with expressive strokes of paint. In Paysage d'hiver, orange, forest green and marine blue brushstrokes come to represent the dormant foliage of winter.