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拍品專文
In July 1903, Henri-Edmond Cross and his wife embarked upon a short sojourn to Italy, traveling from Paris through Lucerne, Milan and Verona, before reaching the fabled city of Venice, where they settled in to “a beautiful room by the Grand Canal five minutes from Saint Mark’s” (letter to Signac, August 1903; quoted in F. Frank, M. Ferretti Bocquillon, O. Westheider, and M. Philipp, eds., Color and Light: The Neo-Impressionist Henri Edmond Cross, exh. cat., Museum Barberini, Potsdam, 2018, p. 249). During the following five weeks, the artist explored the city extensively, falling under the spell of Venice’s incontestable magic, filling his notebooks with drawings and watercolors of the canals and the shimmering reflections of the light on the lagoon. “Venice is like life itself, symbol of this wonderful existence…” Cross wrote in his journal. “And the admirably varied and lively architecture is like a prolongation of this intense life right to the sky, of this maximum of life given by the canals as well as the lovely water and its infinite reflections… It is a reversal of all our usual ways of seeing” (quoted in ibid., p. 122).
Upon his return to the south of France, Cross began a series of approximately fifteen canvases dedicated to La Serenissima drawing on the sketches and studies from his trip, which were filled with a new sense of light and color. In Rio San Trovaso, Venise Cross focuses on a quiet, sunlit canal, devoid of traffic, the only nod towards human presence being the empty gondola that bobs on the surface of the water along the edge of the canal wall. A notation from the artist’s journal, dated 15 July 1903, records the atmosphere of a similar scene, discovered as he wandered through the city’s waterways: “In a gondola on the small canals—Silence—mystery—light…” (quoted in I. Compin, H. E. Cross, Paris, 1964, p. 212). Bright sunlight dances across the row of buildings that line the edge of the canal, conjuring a myriad of colorful reflections that ripple along the surface of the water.
There is a fluidity and liberalism to Cross’s brushwork during this period of his career, which was a direct result of his attempts to marry the chromatic principles of divisionism with a new expressiveness that reflected the artist’s own personal response to the landscape. As he explained to Signac in 1895, his ultimate aim was to have “technique cede its place to sensation” (quoted in ibid., p. 42). Here, Cross applied the jewel-toned pigments in long, rectangular dashes that shift direction as they describe different elements within the scene, lending the composition an internal dynamism and rhythm, as he attempts to convey a feeling of being submerged in the unique play of light that fills the Venetian landscape. By February 1904, a number of the Venice paintings were complete, and Cross chose to exhibit the present work at the Libre Esthétique in Brussels. In the same year Théo van Ryssleberghe, Cross’s Neo-Impressionist colleague, acquired Rio san Trovaso, Venise. The work then passed to the important Lange Collection in Germany by 1907, from which it was lent to the momentous Sonderbund exhibition in Cologne in 1912.
Upon his return to the south of France, Cross began a series of approximately fifteen canvases dedicated to La Serenissima drawing on the sketches and studies from his trip, which were filled with a new sense of light and color. In Rio San Trovaso, Venise Cross focuses on a quiet, sunlit canal, devoid of traffic, the only nod towards human presence being the empty gondola that bobs on the surface of the water along the edge of the canal wall. A notation from the artist’s journal, dated 15 July 1903, records the atmosphere of a similar scene, discovered as he wandered through the city’s waterways: “In a gondola on the small canals—Silence—mystery—light…” (quoted in I. Compin, H. E. Cross, Paris, 1964, p. 212). Bright sunlight dances across the row of buildings that line the edge of the canal, conjuring a myriad of colorful reflections that ripple along the surface of the water.
There is a fluidity and liberalism to Cross’s brushwork during this period of his career, which was a direct result of his attempts to marry the chromatic principles of divisionism with a new expressiveness that reflected the artist’s own personal response to the landscape. As he explained to Signac in 1895, his ultimate aim was to have “technique cede its place to sensation” (quoted in ibid., p. 42). Here, Cross applied the jewel-toned pigments in long, rectangular dashes that shift direction as they describe different elements within the scene, lending the composition an internal dynamism and rhythm, as he attempts to convey a feeling of being submerged in the unique play of light that fills the Venetian landscape. By February 1904, a number of the Venice paintings were complete, and Cross chose to exhibit the present work at the Libre Esthétique in Brussels. In the same year Théo van Ryssleberghe, Cross’s Neo-Impressionist colleague, acquired Rio san Trovaso, Venise. The work then passed to the important Lange Collection in Germany by 1907, from which it was lent to the momentous Sonderbund exhibition in Cologne in 1912.