CARIOU André.
Gauguin and the Pont-Aven School.
Hazan
Regular price
€59,00
| N° d'inventaire | 23940 |
| Format | 26 x 31 |
| Détails | 300 pages, numerous color illustrations, hardcover with dust jacket. |
| Publication | Paris, 2015 |
| Etat | Nine |
| ISBN | 9782754107679 |
Paul Gauguin spent thirty-four months in Pont-Aven and Le Pouldu, on five visits between 1886 and 1894. He became friends with around twenty painters, such as Charles Laval and Émile Bernard, with whom he maintained fruitful and sometimes stormy artistic exchanges. Moving away from Impressionism, he invented a style of painting asserting itself through superimposed flat areas of color separated by outlines, according to new principles of composition and formulation of space, establishing a new relationship between a theme, perceived in a symbolic manner, and its plastic expression. This technique, which would come to be called "synthesis" or "synthetism", is one of the first breaks with traditional painting, and therefore one of the first stages in the genesis of modern art of the 20th century .
An isolated village in Brittany, Pont-Aven became known in the 1830s for the development of a colony of artists, both French and foreign, curious to paint the wild landscapes and traditional costumes linked to ancestral traditions. The arrival of Gauguin, his various stays and the masterful works he created in Brittany ( The Vision after the Sermon , The Beautiful Angel , The Yellow Christ ) would structure the history of the Pont-Aven school. His age difference, his personality and his experience made him seem like the "master" in the eyes of young artists. The words "student" or "lesson" appear several times in his writings when he mentions Ernest de Chamaillard, Paul Sérusier, Meijer De Haan, Armand Seguin, Mogens Ballin, Jan Verkade. "Synthetism" spread rapidly, in particular thanks to the masterful "lesson" that Sérusier received while painting, to Gauguin's dictation, The Talisman (Musée d'Orsay), a founding work of the Nabis group.
Around this research, relationships were formed in Pont-Aven or in the hamlet of Pouldu, but also in Paris, including during Gauguin's absence from Tahiti from 1891 to 1894. On the fringes of this innovative center, some painters displayed real independence, such as Henry Moret and Maxime Maufra, who went on the motif upon Gauguin's return in 1894, and others retained their own style, such as Henri Delavallée, a follower of pointillism, or Roderic O'Conor, influenced by Vincent van Gogh. After Gauguin's new departure for Tahiti in 1895, the Pont-Aven school found extensions in the influence of Sérusier on certain painters who would become abstract, or that of Cuno Amiet on the future members of the Die Brücke group in Dresden.
From the time of Gauguin's death in 1903, his Oceanic works supplanted his earlier paintings. Art historians struggle to establish, within a "Pont-Aven school," the relationships between a few painters like Sérusier and Verkade, who continued their research on "holy measures," and others like Maufra, Moret, or Loiseau, who returned to a more traditional Impressionism under the aegis of the Durand-Ruel gallery. It was not until the first exhibitions or publications, in the 1950s, that the works of De Haan, Laval, or Filiger, who had been forgotten at the time, were discovered.
Since the publication of Wladyslawa Jaworska's comprehensive work, Paul Gauguin and the Pont-Aven School , in 1971, numerous studies, exhibitions and editions of correspondence have gradually reduced most of the gray areas and now allow us to better understand and put into perspective one of the most astonishing episodes in the history of painting. They have contributed to the detailed chronology published at the end of the book, an essential tool for properly measuring the relationships between these twenty painters, their travels between Paris and Brittany or their installations in different places around Pont-Aven such as Le Pouldu, Doëlan, Le Huelgoat or Saint-Nolff. This research was all the more useful as previous studies were sometimes built on summary or inaccurate biographical presentations, in particular due to Émile Bernard's obsession with asserting his anteriority in the invention of synthetism.
The works reproduced here have been selected from public and private collections around the world. The chronology is richly illustrated with old photographs of the locations and artists. Articles from the local press and excerpts from letters and testimonies, some of which have never been published before, enrich the presentation.
An isolated village in Brittany, Pont-Aven became known in the 1830s for the development of a colony of artists, both French and foreign, curious to paint the wild landscapes and traditional costumes linked to ancestral traditions. The arrival of Gauguin, his various stays and the masterful works he created in Brittany ( The Vision after the Sermon , The Beautiful Angel , The Yellow Christ ) would structure the history of the Pont-Aven school. His age difference, his personality and his experience made him seem like the "master" in the eyes of young artists. The words "student" or "lesson" appear several times in his writings when he mentions Ernest de Chamaillard, Paul Sérusier, Meijer De Haan, Armand Seguin, Mogens Ballin, Jan Verkade. "Synthetism" spread rapidly, in particular thanks to the masterful "lesson" that Sérusier received while painting, to Gauguin's dictation, The Talisman (Musée d'Orsay), a founding work of the Nabis group.
Around this research, relationships were formed in Pont-Aven or in the hamlet of Pouldu, but also in Paris, including during Gauguin's absence from Tahiti from 1891 to 1894. On the fringes of this innovative center, some painters displayed real independence, such as Henry Moret and Maxime Maufra, who went on the motif upon Gauguin's return in 1894, and others retained their own style, such as Henri Delavallée, a follower of pointillism, or Roderic O'Conor, influenced by Vincent van Gogh. After Gauguin's new departure for Tahiti in 1895, the Pont-Aven school found extensions in the influence of Sérusier on certain painters who would become abstract, or that of Cuno Amiet on the future members of the Die Brücke group in Dresden.
From the time of Gauguin's death in 1903, his Oceanic works supplanted his earlier paintings. Art historians struggle to establish, within a "Pont-Aven school," the relationships between a few painters like Sérusier and Verkade, who continued their research on "holy measures," and others like Maufra, Moret, or Loiseau, who returned to a more traditional Impressionism under the aegis of the Durand-Ruel gallery. It was not until the first exhibitions or publications, in the 1950s, that the works of De Haan, Laval, or Filiger, who had been forgotten at the time, were discovered.
Since the publication of Wladyslawa Jaworska's comprehensive work, Paul Gauguin and the Pont-Aven School , in 1971, numerous studies, exhibitions and editions of correspondence have gradually reduced most of the gray areas and now allow us to better understand and put into perspective one of the most astonishing episodes in the history of painting. They have contributed to the detailed chronology published at the end of the book, an essential tool for properly measuring the relationships between these twenty painters, their travels between Paris and Brittany or their installations in different places around Pont-Aven such as Le Pouldu, Doëlan, Le Huelgoat or Saint-Nolff. This research was all the more useful as previous studies were sometimes built on summary or inaccurate biographical presentations, in particular due to Émile Bernard's obsession with asserting his anteriority in the invention of synthetism.
The works reproduced here have been selected from public and private collections around the world. The chronology is richly illustrated with old photographs of the locations and artists. Articles from the local press and excerpts from letters and testimonies, some of which have never been published before, enrich the presentation.
An isolated village in Brittany, Pont-Aven became known in the 1830s for the development of a colony of artists, both French and foreign, curious to paint the wild landscapes and traditional costumes linked to ancestral traditions. The arrival of Gauguin, his various stays and the masterful works he created in Brittany ( The Vision after the Sermon , The Beautiful Angel , The Yellow Christ ) would structure the history of the Pont-Aven school. His age difference, his personality and his experience made him seem like the "master" in the eyes of young artists. The words "student" or "lesson" appear several times in his writings when he mentions Ernest de Chamaillard, Paul Sérusier, Meijer De Haan, Armand Seguin, Mogens Ballin, Jan Verkade. "Synthetism" spread rapidly, in particular thanks to the masterful "lesson" that Sérusier received while painting, to Gauguin's dictation, The Talisman (Musée d'Orsay), a founding work of the Nabis group.
Around this research, relationships were formed in Pont-Aven or in the hamlet of Pouldu, but also in Paris, including during Gauguin's absence from Tahiti from 1891 to 1894. On the fringes of this innovative center, some painters displayed real independence, such as Henry Moret and Maxime Maufra, who went on the motif upon Gauguin's return in 1894, and others retained their own style, such as Henri Delavallée, a follower of pointillism, or Roderic O'Conor, influenced by Vincent van Gogh. After Gauguin's new departure for Tahiti in 1895, the Pont-Aven school found extensions in the influence of Sérusier on certain painters who would become abstract, or that of Cuno Amiet on the future members of the Die Brücke group in Dresden.
From the time of Gauguin's death in 1903, his Oceanic works supplanted his earlier paintings. Art historians struggle to establish, within a "Pont-Aven school," the relationships between a few painters like Sérusier and Verkade, who continued their research on "holy measures," and others like Maufra, Moret, or Loiseau, who returned to a more traditional Impressionism under the aegis of the Durand-Ruel gallery. It was not until the first exhibitions or publications, in the 1950s, that the works of De Haan, Laval, or Filiger, who had been forgotten at the time, were discovered.
Since the publication of Wladyslawa Jaworska's comprehensive work, Paul Gauguin and the Pont-Aven School , in 1971, numerous studies, exhibitions and editions of correspondence have gradually reduced most of the gray areas and now allow us to better understand and put into perspective one of the most astonishing episodes in the history of painting. They have contributed to the detailed chronology published at the end of the book, an essential tool for properly measuring the relationships between these twenty painters, their travels between Paris and Brittany or their installations in different places around Pont-Aven such as Le Pouldu, Doëlan, Le Huelgoat or Saint-Nolff. This research was all the more useful as previous studies were sometimes built on summary or inaccurate biographical presentations, in particular due to Émile Bernard's obsession with asserting his anteriority in the invention of synthetism.
The works reproduced here have been selected from public and private collections around the world. The chronology is richly illustrated with old photographs of the locations and artists. Articles from the local press and excerpts from letters and testimonies, some of which have never been published before, enrich the presentation.