Sea views. Jean Francis Auburtin, Mathurin Méheut.
Locus Solus| N° d'inventaire | 22902 |
| Format | 20.5 x 26 |
| Détails | 112 p., paperback with flaps. |
| Publication | Châteaulin, 2018 |
| Etat | Nine |
| ISBN | 9782368331989 |
The multifaceted and inexhaustible work of Mathurin Méheut (1882-1958) is approached here from a maritime angle and in parallel with the works of another great artist, Jean-Francis Auburtin (1866-1930), known for his impressionist painting with a symbolist spirit. Like Monet, Auburtin, after painting Belle-Ile, became attached to the seaside. His backlit seascapes indicate a seasoned observer. His perseverance in understanding the landscape and the fluctuations of light are expressed in the development of series, a process he borrows as much from Monet as from the great masters of Japanese printmaking. Like a French Hokusai, Auburtin practices gouache and watercolor with virtuoso skill. Méheut is undoubtedly the most celebrated Breton artist and his works on maritime biodiversity (see already on this subject La biodiversité littorale selon Mathurin Méheut, Locus Solus, 2016), his coastal landscapes, scenes of work by the sea, or his large marine decorations are among the masterpieces of the history of art in the 20th century. This book revisits the work of these two great artists in the light of 140 paintings, engravings, decorations and various documents, many of them unpublished or rephotographed, from the most prestigious public and private collections.
The multifaceted and inexhaustible work of Mathurin Méheut (1882-1958) is approached here from a maritime angle and in parallel with the works of another great artist, Jean-Francis Auburtin (1866-1930), known for his impressionist painting with a symbolist spirit. Like Monet, Auburtin, after painting Belle-Ile, became attached to the seaside. His backlit seascapes indicate a seasoned observer. His perseverance in understanding the landscape and the fluctuations of light are expressed in the development of series, a process he borrows as much from Monet as from the great masters of Japanese printmaking. Like a French Hokusai, Auburtin practices gouache and watercolor with virtuoso skill. Méheut is undoubtedly the most celebrated Breton artist and his works on maritime biodiversity (see already on this subject La biodiversité littorale selon Mathurin Méheut, Locus Solus, 2016), his coastal landscapes, scenes of work by the sea, or his large marine decorations are among the masterpieces of the history of art in the 20th century. This book revisits the work of these two great artists in the light of 140 paintings, engravings, decorations and various documents, many of them unpublished or rephotographed, from the most prestigious public and private collections.