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拍品专文
Goeneutte’s depictions of modern Parisian life were certainly inspired by his connections to the young Impressionists. Through his friendship with Marcel Desboutin, Goeneutte became close friends with Edgar Degas and Pierre-Auguste Renoir, featuring as a model in one of the latter’s most famous works, the Moulin de la Galette. Born in Paris, Goeneutte studied under Isidore Pils at the Ecole des Beaux-Arts in the early 1870’s. After his teacher’s death in 1875, the Ecole des Beaux-Arts held a retrospective exhibition of Pils’ Parisian street scenes, clearly an inspiration for Goeneutte’s first painting exhibited at the Salon, Boulevard Clichy under snow, now in the collection of the Tate Gallery in London. Goeneutte’s new teacher at the Ecole des Beaux-Arts, Henri Lehmann, was not popular among his students rousing them to write to Êdouard Manet asking him to take over, though Manet later declined.
Goeneutte certainly admired the work of Êdouard Manet and clearly emulates him in Dans le jardin. Manet’s technique of lighting his subjects to make them seem flattened can be seen in familiar works such as Le Déjeuner sur l'herbe and Olympia. This allowed Manet to avoid careful modelling of form, demonstrating that painting was starting to move further away from reproduction, even as early as 1963. Goeneutte has employed a similar technique in Dans le jardin, with only a few carefully placed white brushstrokes on the sitter’s clothing to describe the folds. The use of a dark background to surround the figure is another expedient Goeneutte adopted from his contemporary.
Goeneutte’s success continued throughout his short life with his work taking him to cities including London, Venice and Rotterdam. His work as a printmaker and illustrator are well known, most notably his illustrations for La Terre, by Emile Zola.
Goeneutte certainly admired the work of Êdouard Manet and clearly emulates him in Dans le jardin. Manet’s technique of lighting his subjects to make them seem flattened can be seen in familiar works such as Le Déjeuner sur l'herbe and Olympia. This allowed Manet to avoid careful modelling of form, demonstrating that painting was starting to move further away from reproduction, even as early as 1963. Goeneutte has employed a similar technique in Dans le jardin, with only a few carefully placed white brushstrokes on the sitter’s clothing to describe the folds. The use of a dark background to surround the figure is another expedient Goeneutte adopted from his contemporary.
Goeneutte’s success continued throughout his short life with his work taking him to cities including London, Venice and Rotterdam. His work as a printmaker and illustrator are well known, most notably his illustrations for La Terre, by Emile Zola.