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拍品专文
Between 1884 and his death in 1903, Pissarro and his family lived at Eragny, a tiny hamlet on the banks of the Epte, about forty-five miles northwest of Paris. The bucolic landscape there proved a source of inexhaustible inspiration to the artist during these two decades. Joachim Pissarro has written: "Unlike Pontoise, whose tensions were those of a suburban town, semi-rural and semi-urban, in Eragny, no signs of industry could be observed for miles. Varied expanses of pasture and cultivated land complete the visual field. However, Eragny's earthly space is not banal. For twenty years Pissarro concentrated on this very confined area, on the visual material offered by the stretch of meadows lying in front of him, informed by poplars, gates, the river, and produced over two hundred paintings of these motifs. His representations of these fields and gardens constitute the most spectacularly intense pictorial effort to 'cover' a particular given space in his career... Pissarro could never get enough of Eragny. His infrequent travels always brought him back to Eragny with renewed resources, fresh ideas, and an eagerness to paint the same and yet ever different locations once again. The years that he spent in Eragny undeniably constitute a significant episode in the history of late Impressionism" (Camille Pissarro, New York, 1993, pp. 225 and 241).
Pissarro did not remain indoors but set out into the field, very likely with his rolling easel. He explored the pictorial possibilities that his native surroundings offered throughout the seasons: with the fresh blooms of spring, the verdant leaves of summer, the coloured foliage of autumn, and the bare boughs of winter, tinged with hoar-frost or burdened by snow. The joy that Pissarro took in painting this particular stretch of the landscape is clearly evident in the present scene. The red-roofed house with a stout little chimney is modest but homely and inviting. The sky is a vivid blue scumbled with cottony white clouds and dashes of a pale peach glow, the foliage is lush and verdant, with dense, rich greens imbuing a sense of abundance. This represented a place of peace and flourishing creativity for the artist where he produced some of his finest work. Although modest in scale, Coin du jardin à Eragny perfectly captures the artist’s delight in the bountiful earthly life to be found outside the city, with space to meditate on the passing seasons, capturing the details of their beauty with each passing day.
Pissarro did not remain indoors but set out into the field, very likely with his rolling easel. He explored the pictorial possibilities that his native surroundings offered throughout the seasons: with the fresh blooms of spring, the verdant leaves of summer, the coloured foliage of autumn, and the bare boughs of winter, tinged with hoar-frost or burdened by snow. The joy that Pissarro took in painting this particular stretch of the landscape is clearly evident in the present scene. The red-roofed house with a stout little chimney is modest but homely and inviting. The sky is a vivid blue scumbled with cottony white clouds and dashes of a pale peach glow, the foliage is lush and verdant, with dense, rich greens imbuing a sense of abundance. This represented a place of peace and flourishing creativity for the artist where he produced some of his finest work. Although modest in scale, Coin du jardin à Eragny perfectly captures the artist’s delight in the bountiful earthly life to be found outside the city, with space to meditate on the passing seasons, capturing the details of their beauty with each passing day.