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拍品专文
Peploe painted a remarkable group of landscapes in his maturity which reflect a clear influence from the work of Cézanne. In these paintings, trees are often prominent as Peploe investigated the rhythms of the vertical tree trunks and the shimmering movement of the leaves in the summer light.
The first of these arboreal studies were made in Dumfriesshire in late spring and early summer of 1926, whilst Peploe was staying at the Commercial Inn. These landscapes mark a pivotal point in his career as his paint technique for landscape painting became broader and more expressive. As Stanley Cursiter notes: ‘The first of the Scottish landscapes painted at Kirkudbright and New Abbey had broken new ground and had already indicated that his preoccupation with another line of approach to the problems of painting had provided him with a fresh way of seeing his native country. It needed only conditions of the right kind and a locality suited to his purpose to release a wide and immediate development of his art’ (S. Cursiter, Peploe, An Intimate Memoir of an Artist and of his Work, 1947, pp. 51-52.)
Throughout the 1920s Peploe returned to the subject of the forested landscape in a series of studies of trees painted at Antibes in the south of France and by the early 1930s he had produced a series of striking symphonies of green, white and pale blue. The influence of Cézanne is very evident in the refracted light shimmering upon the leaves and casting shadows across the trunks and boughs of the trees. The paint is applied with impasto and with rapidly interwoven patches of colour which contrasts with the angularity of Peploe’s views in Iona and Cassis painted around the same time.
The first of these arboreal studies were made in Dumfriesshire in late spring and early summer of 1926, whilst Peploe was staying at the Commercial Inn. These landscapes mark a pivotal point in his career as his paint technique for landscape painting became broader and more expressive. As Stanley Cursiter notes: ‘The first of the Scottish landscapes painted at Kirkudbright and New Abbey had broken new ground and had already indicated that his preoccupation with another line of approach to the problems of painting had provided him with a fresh way of seeing his native country. It needed only conditions of the right kind and a locality suited to his purpose to release a wide and immediate development of his art’ (S. Cursiter, Peploe, An Intimate Memoir of an Artist and of his Work, 1947, pp. 51-52.)
Throughout the 1920s Peploe returned to the subject of the forested landscape in a series of studies of trees painted at Antibes in the south of France and by the early 1930s he had produced a series of striking symphonies of green, white and pale blue. The influence of Cézanne is very evident in the refracted light shimmering upon the leaves and casting shadows across the trunks and boughs of the trees. The paint is applied with impasto and with rapidly interwoven patches of colour which contrasts with the angularity of Peploe’s views in Iona and Cassis painted around the same time.