Henry Moret (1856-1913) - photo 1
Henry Moret (1856-1913) - photo 2
Henry Moret (1856-1913) - photo 3
Henry Moret (1856-1913) - photo 4
Henry Moret (1856-1913) - photo 5

Henry Moret (1856-1913)

Sold
€ 214 200
Auction dateClassic
10.04.2024 14:00UTC +02:00
Auctioneer
CHRISTIE'S
Event location
France, Paris
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Archive
ID 1178665
Lot 182 | Henry Moret (1856-1913)
Henry Moret (1856-1913)

Les Sableurs Pont-Aven

signé et daté 'Henry Moret - 1906' (en bas à gauche)

huile sur toile

53.7 x 64.8 cm.

Peint en 1906



signed and dated 'Henry Moret - 1906' (lower left)

oil on canvas

21 1⁄8 x 25 ½ in.

Painted in 1906





Provenance

Galeries Durand-Ruel, Paris (acquis auprès de l'artiste le 10 mai 1907).

Vente, Mes Thierry, Lesieur et Martin, Brest, 16 décembre 1979, lot 221.

Collection particulière, France (vers la fin des années 1980).

Puis par descendance au propriétaire actuel.



Exhibited

Pont-Aven, Musée de Pont-Aven, Henry Moret, Aquarelles et peintures, juin-septembre 1988, p. 22, no. 14 (illustré en couleurs, p. 23).



Further details

Cette œuvre sera incluse au catalogue raisonné de l'œuvre d'Henry Moret actuellement en préparation par Jean-Yves Rolland.

La rencontre de Henry Moret et Paul Gauguin remonte à 1888, tandis qu’ils séjournent tous deux à Pont-Aven dans la pension Gloanec. À compter de cette date, Moret s’intègre rapidement au cénacle exaltant des artistes de l’école dite plus tard « de Pont-Aven ». C’est entre ce village et celui du Pouldu, autre lieu d’effervescence artistique, que s’écoule la rivière du Belon dépeinte ici. Sous l’influence du maître Gauguin, Moret exploite allègrement les préconisations du synthétisme, tout en ne se défaisant jamais parfaitement de ses attirances pour l’impressionnisme, qu’il épouse tout à fait autour de 1897-98.
Peinte en 1906, la présente toile représentant Pont-Aven oscille entre facture impressionniste et touche plus verticale, parallèle, héritée des préceptes de Gauguin et Bernard.
La toile se structure en plans horizontaux qui apportent toute leur modernité à l’œuvre, dans un superbe dégradé chromatique, témoignage de l’immense talent de coloriste de Moret : au premier plan, les subtiles nuances des vallées et falaises ; puis les tourments de la mer dans des bleus francs et intenses et qui laissent place aux reflets foncés transpercés par la voile rouge des bateaux qui filent; et enfin le ciel irisé en touches plus étirées. Du synthétisme, Moret conserve la clarté des plans, les couleurs franches et cette touche verticale par endroits, tandis qu’il rend hommage aux effets atmosphériques et au travail de la lumière dont l’impressionnisme se fait le chantre, dans une touche plus virgulée ailleurs dans le ciel ou l’herbe. L’habile mélange des teintes chaudes et froides, caractéristiques de la Bretagne, semble en outre confirmer l’inclination de l’artiste pour les décors de printemps, saison qui magnifie ces paysages qu’il affectionne tant.

Henry Moret met Paul Gauguin in 1888 when they were both staying in Pont-Aven, at the Pension Gloanec. From that moment on, Moret rapidly joined the exciting circle of artists, later known as the "school of Pont-Aven". The Belon river, depicted here, flows between the villages of Pont-Aven and Le Pouldu, another hub of artistic activity. Under the influence of Gauguin, the master, Moret happily experimented with the principles of Synthetism, while never completely abandoning his attraction to Impressionism, which he completely espoused in around 1897-98.
Painted in 1906, the present painting representing Pont-Aven fluctuates between Impressionism and more vertical, parallel strokes, inherited from the precepts of Gauguin and Bernard.
The canvas is structured into horizontal planes that bring the full force of their modernity to the work, in a superb colour palette, illustrating the immense talent of Moret as a colourist. In the foreground, the delicate nuances in the valley and cliffs; then the stormy sea depicted in a deep and intense blue which gives way to dark tints pierced by the red sail of the passing boats; and finally, the iridescent sky in longer, drawn-out strokes. Moret maintains the clarity of the different planes, bright colours and sometimes vertical touches of Synthetism while paying tribute to the atmospheric effects and work on light championed by Impressionism, with more comma-like strokes in the sky or grass. The skilful blend of warm and cool shades, characteristic of Brittany, also seems to confirm the artist’s preference for scenes of spring, a season that magnifies the landscapes of which he was so fond.
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