Lot Essay
Cette œuvre sera incluse au catalogue raisonné de l'œuvre d'Henry Moret actuellement en préparation par Jean-Yves Rolland.
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Le Château de Keroman
Details
Henry Moret (1856-1913)
Le Château de Keroman
signé, daté et inscrit 'Chateau de Keroman - 1892 - Henry Moret.' (en bas à gauche)
huile sur toile
55 x 46 cm.
Peint à Keroman en 1892
signed, dated and inscribed 'Chateau de Keroman - 1892 - Henry Moret.' (lower left)
oil on canvas
21 5/8 x 18 1/8 in.
Painted in Keroman in 1892
Le Château de Keroman
signé, daté et inscrit 'Chateau de Keroman - 1892 - Henry Moret.' (en bas à gauche)
huile sur toile
55 x 46 cm.
Peint à Keroman en 1892
signed, dated and inscribed 'Chateau de Keroman - 1892 - Henry Moret.' (lower left)
oil on canvas
21 5/8 x 18 1/8 in.
Painted in Keroman in 1892
Provenance
Collection particulière, France.
Further Details
À l’image des apôtres qui accompagnent le Christ en écoutant ses préceptes, le peintre Henry Moret - avec Paul Sérusier et d’autres artistes – prend la suite de Paul Gauguin lorsque celui-ci découvre Pont-Aven et ses environs. Dans son sillage, les œuvres de Moret s’imprègnent du synthétisme que Gauguin déploie à cette époque dans ses toiles, lui qui souhaite «abolir l’inutile complication des formes et des tons» (cité in W. Jaworska, Gauguin et l’Ecole de Pont-Aven, Neuchâtel, 1971, p. 231) en cernant les éléments d’une ligne conduisant à épurer l’image. Dans la présente œuvre, qui voit se dresser au fond le château de Keroman, à proximité de Lorient, Henry Moret s’inspire en effet de ce cloisonnisme, tout en développant une facture constructive par des touches verticales et de légers aplats de couleurs. Les plans et reliefs, eux aussi, se simplifient. D’autres éléments cependant, comme le feuillage des arbres et le ciel, restent quant eux plus classiques, dans la lignée postimpressionniste dont Moret se fait l’hériter. Ce doux mélange d’influences offre une œuvre particulièrement fraîche, à sa place entre tradition et modernité.
Like the apostles who travelled with Christ, listening to his precepts, the painter Henry Moret – alongside Paul Sérusier and other artists – followed Paul Gauguin when he discovered Pont-Aven and its outlying area. In his stead, Moret's works became steeped in the synthetism Gauguin was then developing in his canvases, as he sought to "abolish the useless complication of shapes and tones" (quoted in W. Jaworska, Gauguin et l’Ecole de Pont-Aven, Neuchâtel, 1971, p. 231) by simply outlining elements to purify the image. In this work, with a backdrop featuring the Château de Keroman near Lorient, Henry Moret draws inspiration from this cloisonnism while developing a constructive technique through vertical strokes and light, flat colour blocks. The planes and landscapes are also simplified. Other elements, however, such as the sky and the foliage, are still more classical in the Post-Impressionist tradition espoused by Moret. This understated blend of influences results in a particularly fresh work which fits comfortably between tradition and modernity.
Like the apostles who travelled with Christ, listening to his precepts, the painter Henry Moret – alongside Paul Sérusier and other artists – followed Paul Gauguin when he discovered Pont-Aven and its outlying area. In his stead, Moret's works became steeped in the synthetism Gauguin was then developing in his canvases, as he sought to "abolish the useless complication of shapes and tones" (quoted in W. Jaworska, Gauguin et l’Ecole de Pont-Aven, Neuchâtel, 1971, p. 231) by simply outlining elements to purify the image. In this work, with a backdrop featuring the Château de Keroman near Lorient, Henry Moret draws inspiration from this cloisonnism while developing a constructive technique through vertical strokes and light, flat colour blocks. The planes and landscapes are also simplified. Other elements, however, such as the sky and the foliage, are still more classical in the Post-Impressionist tradition espoused by Moret. This understated blend of influences results in a particularly fresh work which fits comfortably between tradition and modernity.
Sale Room Notice
This Lot is Withdrawn.
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