Camille Pissarro (1830-1903)
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卡密爾.畢沙羅 (1830-1903)

蓬圖瓦茲的小徑

細節
卡密爾.畢沙羅 (1830-1903)
蓬圖瓦茲的小徑
簽名及日期:C. Pissarro 1878 (左下)
油彩 畫布
28 3/4 x 23 3/4吋 (73 x 60.2 公分)
1878年作
來源
瓦茲河畔歐韋歐仁.幕勒 (約1879年購)
巴黎喬治.維奧博士;1907年3月21至22日,巴黎杜蘭德 .魯埃
爾畫廊,拍品編號57
巴黎安布魯瓦茲.沃那 (約1937年購)
紐約舍尼曼畫廊
已故藏家家屬於1953年7月24日購自上述收藏
出版
L.R. Pissarro及L. Venturi著 《Camille Pissarro, Son art - son oeuvre》,第1冊,巴黎,1939年,編號441 (插圖,第2冊,圖號89)
L. Doeser著 《The Life and Works of Pissarro》,紐約,1994年,第39頁 (插圖,第38頁;作品名稱《The Path of the Wretched》)
R. Berson著 《The New Painting: Impressionism (1874-1886)》,第2冊,三藩市,1996年,編號IV-187,第118頁 (插圖,第138頁;作品名稱《Petit Bois (Poules et canards)
J. Pissarro及C. Durand-Ruel Snollaerts著 《Pissarro, Catalogue critique des peintures》,巴黎,2005年,第2冊,編號578,第391頁 (插圖)
展覽
1879年4月至5月 巴黎歌劇院大道28號 「The Fourth Impressionist Exhibition」展覽;編號187,第14頁 (作品名稱《Petit bois, poules et canards》)
1954年6月至10月 日內瓦拉特美術館 「Trésors des collections romandes (Écoles étrangères)」展覽;編號108,第25頁
1957年1月至3月 伯爾尼美術館 「Camille Pissarro」展覽;編號49,第14頁
1963年6月至9月 沙夫豪森萬聖教堂博物館 「Die Welt des Impressionismus」展覽;編號92
1984年6月至10月 洛桑赫米蒂奇基金會 「L’Impressionnisme dans les collections Romandes」展覽;編號62,第163至164頁 (插圖)
注意事項
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

拍品專文

Dating from the peak of the impressionist movement, La sente des Pouilleux, Pontoise exemplifies the distinctive style, subject matter and compositional motifs that have come to define Camille Pissarro’s pioneering form of Impressionism. Painted in 1878, La sente des Pouilleux, Pontoise was included in the Fourth Impressionist Exhibition held the following year. At around the time of the exhibition, the painting was bought by the novelist and pastry chef Eugène Murer, who supported Pissarro and the nascent Impressionist group by buying their works and hanging them in his home and restaurant, promoting them to his regular guests. Following this, La sente des Pouilleux, Pontoise entered into the collection of another important impressionist patron, Dr Georges Viau, a dentist who amassed a number of works by many of the leading artists of this group.

Depicting a rustic farmhouse seen through a veil of ascendant trees, La sente des Pouilleux, Pontoise presents a quotidian, rural scene of Pontoise, the small rural town in the Île de France where Pissarro was living at this time. The specific location of the title – Les Pouilleux – appears in two other oils (Pissarro & Durand-Ruel Snollaerts, nos. 328 & 666), however this exact site has never been identified. Like Cézanne and Aix, or Monet and Argenteuil, Pissarro’s name is now inseparable from Pontoise. He painted the countryside here with a constant enthusiasm; indeed perhaps no other painter depicted one locale as much as Pissarro portrayed Pontoise. The bank of trees that cover the width of the composition partially obscure the houses behind, simultaneously concealing and revealing the subject of the painting. This compositional device was one of Pissarro’s favourites and appears frequently in his work of the late 1870s, allowing him to create landscapes with often unusual viewpoints or unexpected perspectives, such as the present work.

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