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拍品專文
Paul Gauguin s'installe en 1880 dans une ravissante maison au 8, de la rue de Carcel, dans le quartier de Vaugirard à Paris. La bâtisse sur trois niveaux permet à l'artiste de profiter d'un atelier à grande verrière et d'un jardin. C'est ce jardin qui est représenté ici, le peintre explorant les effets chromatiques de la lumière du soir. Ce thème est présent dans une autre oeuvre de 1881, l'Eglise de Vaugirard, la Nuit (Musée Groninger, Groningen, Pays-Bas), qu'il pouvait voir depuis la porte de sa maison. La délicatesse des tons et les jeux d'ombre et de lumière créent une atmosphère mystérieuse et animée que renforce la vivacité de la touche. Le peintre montre ainsi une maîtrise renouvelée de l'esthétique impressionniste, développée quelques années plutôt, à travers son amitié avec Camille Pissarro et les séjours passés à ses côtés à Osny et Pontoise.
In 1880, Paul Gauguin moved into the delightful house at 8, Rue de Carcel in the Vaugirard district of Paris. The three-storey house enabled the artist to have a studio with a glass roof and a garden. This is the garden represented in the painting, Un coin du mur (effet de nuit), in which the painter explores the chromatic effects of the evening light. The same theme is present in another work of 1881, "Eglise de Vaugirard, la Nuit" (Groninger museum, Groningen, Netherlands), a scene he could see from the door of his house. The delicacy of the tones and the plays of light and shadow create a mysterious and animated atmosphere emphasizing his lightness of touch. The painter shows renewed control over the Impressionist aesthetic, developed a few years earlier, as a result of his friendship with Camille Pissarro and the trips taken with him to Osny and Pontoise.
In 1880, Paul Gauguin moved into the delightful house at 8, Rue de Carcel in the Vaugirard district of Paris. The three-storey house enabled the artist to have a studio with a glass roof and a garden. This is the garden represented in the painting, Un coin du mur (effet de nuit), in which the painter explores the chromatic effects of the evening light. The same theme is present in another work of 1881, "Eglise de Vaugirard, la Nuit" (Groninger museum, Groningen, Netherlands), a scene he could see from the door of his house. The delicacy of the tones and the plays of light and shadow create a mysterious and animated atmosphere emphasizing his lightness of touch. The painter shows renewed control over the Impressionist aesthetic, developed a few years earlier, as a result of his friendship with Camille Pissarro and the trips taken with him to Osny and Pontoise.