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拍品專文
Vieux vigneron, Moret dates from the artist's second sojourn in Moret-sur-Loing, located to the southeast of Fontainebleau. Pissarro's son, Georges, took up residence there at 28 rue de la Pêcherie in 1899 and strongly encouraged his father to visit, lauding the views of the river Loing from his garden. This medieval village had most notably been immortalized in paintings by Pissarro's fellow Impressionist, Alfred Sisley. While recognizing its charms, Pissarro also sought inspiration in the surrounding countryside. This provided a contrast with his city paintings of Dieppe in 1901 and of the Place Dauphine, Paris series of 1901-1902. These changes in locale enabled him to vary his motifs, mixing new series of urban scenes with his more familiar rural landscapes and domestic subjects. His initial visit to Moret in 1901 was followed by a second from May to June 1902, when the present work was painted.
Vieux vigneron, Moret is a richly painted and deeply emotional work, completed during a stretch of rain in Moret which caused Pissarro to turn his attentions from the lush landscapes that surrounded him to the intimate scenes taking place indoors. As the artist explained in a letter to his wife on 17 May 1902: “It’s been windy, cold, and rainy ever since I arrived…but in spite of this setback, I have some reason to be pleased with my work. I found some peasants—two women and an old man who were willing to pose for me at their place, I thus have two finished size-fifteen canvases [Pissarro and Durand-Ruel Snollaerts, nos. 1427 (the present work) and 1428] and a third one in progress [no. 1429], and as soon as it’s possible, one of the women will come and pose for me in the fields or under the trees [no. 1430] right next to our house” (quoted in cat rais, op. cit., vol. III, p. 871).
Joachim Pissarro and Caroline Durand-Ruel Snollaerts explain in their comprehensive catalogue raisonné that the vineyards surrounding Moret were decimated by disease in the late nineteenth century and the local wine-growers were sent into poverty as a result (ibid, p. 872). The present painting thus stands as a moving depiction of an aging wine-grower seated at his modest table with a half full bottle of wine. Painted with great detail and a thickly built up surface, it is clear that Pissarro delighted in the artistic possibilities that painting these quiet moments of solitude indoors afforded him. Here, the array of colors that the artist uses to capture the gray light streaming in through the window puts on full display his signature style of painting during this period and creates an intimate view into a private moment.
Vieux vigneron, Moret is a richly painted and deeply emotional work, completed during a stretch of rain in Moret which caused Pissarro to turn his attentions from the lush landscapes that surrounded him to the intimate scenes taking place indoors. As the artist explained in a letter to his wife on 17 May 1902: “It’s been windy, cold, and rainy ever since I arrived…but in spite of this setback, I have some reason to be pleased with my work. I found some peasants—two women and an old man who were willing to pose for me at their place, I thus have two finished size-fifteen canvases [Pissarro and Durand-Ruel Snollaerts, nos. 1427 (the present work) and 1428] and a third one in progress [no. 1429], and as soon as it’s possible, one of the women will come and pose for me in the fields or under the trees [no. 1430] right next to our house” (quoted in cat rais, op. cit., vol. III, p. 871).
Joachim Pissarro and Caroline Durand-Ruel Snollaerts explain in their comprehensive catalogue raisonné that the vineyards surrounding Moret were decimated by disease in the late nineteenth century and the local wine-growers were sent into poverty as a result (ibid, p. 872). The present painting thus stands as a moving depiction of an aging wine-grower seated at his modest table with a half full bottle of wine. Painted with great detail and a thickly built up surface, it is clear that Pissarro delighted in the artistic possibilities that painting these quiet moments of solitude indoors afforded him. Here, the array of colors that the artist uses to capture the gray light streaming in through the window puts on full display his signature style of painting during this period and creates an intimate view into a private moment.