乔治·修拉
风景与马
作品介绍
Paysage avec cheval was painted around 1882-83 and is one of
Georges Seurat's so-called croquetons, pictures created on
wooden
panels that he could carry through the countryside, working
directly from the motif. It was in these croquetons that Seurat
developed the visual language that would lead to his celebrated
masterpiece, Une baignade, Asnières, now in the National Gallery,
London, in which he would move gradually towards a new concept of
painting based on colour theories. The Neo-Impressionism that
Seurat would come to spearhead would have a marked effect on colour
theories for a number of artists, bringing about new understandings
and confidence in the avant garde, resulting in the embrace of
Pointillism and thence Divisionism, indirectly paving the way for
E. Paysage avec cheval was one of the works still in Seurat's
possession at the time of his untimely death, at the age of only
31; when his estate was divided, at his request, by Félix Fénéon,
Paul Signac and Maximilien Luce, this picture was allocated to
Seurat's aunt, Alexis-Antoine Chevallot. On its reverse are the
marks made by Luce, his friend and fellow Neo-Impressionist, during
the period spent inventorising and allocating his works.
乔治·修拉
风景与马
For his croquetons, Seurat used small pieces of wood commonly
described as cigar box lids. This appears to be an allusive
reference rather than a literal one. Instead of the cedar-wood
commonly used for cigar boxes, the croquetons are largely walnut or
mahogany. Often, Seurat would not prime them, allowing the rich
colour of the wood to add its own warm ground to the
compositions.
乔治·修拉
风景与马
Paysage avec cheval presents the viewer with a scene that was,
at the end of the Nineteenth Century, commonplace. In Seurat's
world, horses were often a reflection of labour and industry rather
than recreation, and this may be the case here. Certainly, there is
an agricultural feel to the view. The expeditions on which Seurat
created croquetons such as Paysage avec cheval largely took place
in the countryside, for instance near Barbizon, the village by the
Forest of Fontainebleau previously immortalised by a generation of
painters whom he admired greatly. Indeed, John Leighton and Richard
Thomson pointed out that Barbizon, Mortefontaine and Ville d'Avray,
where Seurat painted a great deal during this phase, were all areas
associated with Jean-Baptiste-Camille Corot (see J. Leighton &
R. Thomson, Seurat and The Bathers, exh. cat., London, 1997, p.
29).
乔治·修拉
风景与马
In his croquetons, Seurat was exploring the entire nature of
the relationship between colour and form, using his studies of the
ever-advancing science of perception to help inform him. In Paysage
avec cheval, those advances are clear in some of the unusual
colours that he has used to evoke shade, especially in the body of
the horse itself: the lower areas of the creature are flecked with
blues and burgundies alike. Seurat's near-hatched brushwork becomes
increasingly fine in the white of the horse's body, allowing those
colours to seep upwards, evocatively capturing the play of light
and shadow on the haunches and back. The tail has largely been
rendered with a bold, playful stroke of cream paint, the
corrugations of the bristle marks of the brush lending the sense of
the horse's hair. Meanwhile, much of the surrounding countryside
has been built up with larger, criss-crossing brushstrokes which
allow the colours to intermingle, heightening both the vibrancy and
the volume of the composition.
乔治·修拉
风景与马
Seurat has managed to capture light, colour and form alike
through brushstrokes that are almost hatched, darting this way and
that. In this way, he has succeeded both in lending a shimmering,
almost Impressionistic air to the composition while also building
up a complex sense of monumentality that belies the quotidian
nature of the scene. In his drawings, in which he often modelled
form through the deft use of charcoal, Seurat managed to invest
everyday, often interior scenes of suburban life with grace and
poise while also lending them a near-plastic sense of sculptural
form. In the landscape croquetons such as Paysage avec cheval, that
same transformation has been brought outdoors in a different guise.
There is a vivid sense of the mass of the horse itself. At the same
time, the composition of the painting as a whole appears almost
formal in its use of horizontal bands of green and yellow, with the
gleaming white horse thrust into relief by its contrast with that
backdrop. This hints at the developments that would lead to Une
baignade, Asnières and would subsequently result in the rigorous
fusion of art and scientific theory of high
Neo-Impressionism.
乔治·修拉
风景与马
Paysage avec cheval is one of several studies in which Seurat
explored different light effects, colour combinations and senses of
volume through motifs featuring animals, often beasts of burden. In
some of these, for instance the picture of a black cow which is now
in the collection of Yale University Art Gallery, the sketched
nature of the work is apparent in the far broader brushstrokes, as
Seurat raced to capture an impression, working with a freedom and
spontaneity to record a fleeting effect, in that case, the bright
sunlight on the ground contrasting with the rich, blue-flecked
shadows. In a work from 1884 in the Solomon R. Guggenheim Museum,
New York, a brown horse is shown pulling a carriage into the
composition; there is more sky, allowing a contrast between the
light of the backdrop and the darker animal. Animals are also
present in some of the studies for Une baignade, Asnières itself,
for instance the example in the Scottish National Gallery,
Edinburgh. In these works, there is a variety of touch: some of
them appear to be working studies, others, such as Paysage avec
cheval, with its denser brushwork, more finished.
乔治·修拉
风景与马
Croquetons such as Paysage avec cheval were the cutting edge
arenas of experimentation that would result in various sea-changes
in the development of the avant garde. Looking at Seurat's
all-too-short career, cut short by his death in his early thirties,
it is astonishing to see the advances that he made in the brief
period of his so-called maturity. Paysage avec cheval was painted
only a couple of years after Seurat had been released from his
military service. While he had already been an art student before
being conscripted to join the armed forces, it was after his return
home in November 1880, having had his way paid out of military
service, that he approached art with a new-found passion, and with
new-found confidence. Within a short time, only in his early
twenties, he was drawing and painting works which were unique in
their vision, bold and trailblazing stepping stones towards
Neo-Impressionism.
画家简介
乔治·修拉(Georges
Seurat,1859~1891),新印象主义的创始者和卓越代表。生于巴黎一个宗教气息很浓的保守家庭里,在这样的家庭里他养成了孤僻的性格。曾学习过雕塑,后进入巴黎美术学院学习造型和绘画。受到化学家谢弗勒尔的色彩光轮原理的引导,创造了在画面上精密安排人物,合理安排细密色点的“点彩画法”,将色彩、线条的表现性与感情的特质结合了起来。他的代表作有《大碗岛星期天的下午》、《阿涅尔的浴场》、《马戏团的一幕》、《喧闹》等。
作品资料
Paysage avec cheval
成交總額
GBP 1,202,500
估價
GBP 600,000 - GBP 800,000
拍賣 2352Impressionist and Modern Evening Sale
紐約|2010年11月3日
拍品 24
oil on panel
6¼ x 9.7/8 in. (16 x 25.2 cm.)
Painted circa 1882-1883
來源
The artist's estate (inventory no. L 54; inscribed by
Maximillien Luce on the reverse of the
panel).
Marie-Christine Chevallot (the artist's aunt), Dampierre,
Aube, by descent from the above.
Constant-Augustave Chevallot, Dampierre, by descent from the
above.
Clémentine Mason, Dampierre, by descent from the above.
Jeanne Gerbier, Dampierre, by descent from the above.
Marguerite Richard, by descent from the above.
Richard Wildenstein, Paris, by descent from the above circa
1982.
Private collection, France.
展览历史
Tokyo, Wildenstein Gallery, Masterpieces of French Painting,
June - July 1986 (illustrated).
Zurich, Kunsthaus, Georges Seurat, Figure in Space, October
2009 - January 2010, no. 23 (illustrated p. 47); this exhibition
later travelled to Frankfurt, Schirn Kunsthalle.
相关文献
D. Wildenstein, Seurat, Paris, 1982, pp. 21 & 49
(illustrated).
J. Rewald, Seurat, New York, 1990, p. 44 (illustrated).
阴山工作室
本文图片及英文资料均来自佳士得官方网站,局部细节图片系阴山工作室所加。
因原文第二段一个单词为非法字符而将其删除,代之以 E。
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
阴山箴言
|
|