Paul Sérusier (1863-1927) - photo 1
Paul Sérusier (1863-1927) - photo 2
Paul Sérusier (1863-1927) - photo 3
Paul Sérusier (1863-1927) - photo 4
Paul Sérusier (1863-1927) - photo 5
Paul Sérusier (1863-1927) - photo 6

Paul Sérusier (1863-1927)

Lot 110
20.10.2023 14:30UTC +01:00
Classic
Sold
€ 151 200
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
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Archive
ID 1051691
Lot 110 | Paul Sérusier (1863-1927)
Estimate value
€ 200 000 – 300 000
Paul Sérusier (1863-1927)

Coiffe enlevée

signé et daté ‘PSérusier 91’ (en bas à droite)

huile sur toile

73 x 60 cm.

Peint à Huelgoat en 1891



signed and dated ‘PSérusier 91’ (lower right)

oil on canvas

28 ¾ x 23 5⁄8 in.

Painted in Huelgoat in 1891





Provenance

Atelier de l'artiste.

Marguerite-Claude Sérusier, France (par succession).

Paule-Henriette Boutaric, Paris (par descendance).

Sam Josefowitz, Pully (acquis auprès de celle-ci le 15 octobre 1962).

Puis par descendance aux propriétaires actuels.



Literature

M. Guicheteau, Paul Sérusier, Paris, 1976, p. 208, no. 58 (illustré, p. 209).

C. Boyle-Turner, Paul Sérusier, Ann Arbor, 1983, p. 62, 63, 72 et 74 (illustré, fig. 22; daté ‘été 1891’).

C. Boyle-Turner, Paul Sérusier, La technique, L'œuvre peint, Lausanne, 1988, p. 92 (illustré en couleurs, p. 93; daté ‘1891’).

F.-M. Luzel et F. Morvan, Les contes de Luzel, Contes inédits, Rennes, 1995, vol. II (illustré en couleurs en couverture).

C. Boyle-Turner, Sérusier et la Bretagne, Dournanez, 1995, p. 72 (illustré en couleurs, p. 71).

Catalogue raisonné en ligne de l'œuvre de Paul Sérusier, no. H-1891.2.Fig. (illustré en couleurs).



Exhibited

Dallas, Museum of Fine Arts, The Outline and the Dot, Two aspects of Post-Impressionism, mars 1962, no. 6.

Londres, The Arts Council of Great Britain, Gauguin and the Pont-Aven group, janvier-février 1966, p. 40, no. 204.

Tokyo, The Bunkamura Museum of Art; Kyoto, The National Museum of Modern Art; Hokkaido, Hokkaido Museum of Modern Art; Mie, Mie Prefectural Art Museum et Koriyama, Koriyama City Museum of Art, Gauguin et l'École de Pont-Aven, avril-novembre 1993, p. 81, no. 61 (illustré en couleurs, p. 80).

Sydney, Art Gallery of New South Wales, Gauguin and the Pont-Aven School, mai-juillet 1994, p. 184 et 221, no. 111 (illustré en couleurs, p. 182).

Indianapolis, Indianapolis Museum of Art; Baltimore, The Walters Art Gallery; Montréal, The Montreal Museum of Fine Arts; Memphis, The Dixon Gallery and Gardens; San Diego, San Diego Museum of Art; Portland, Portland Art Museum; Boston, Museum of Fine Arts et Jérusalem, The Israel Museum, Gauguin and the School of Pont-Aven, septembre 1994-janvier 1997,

p. 142, no. 111 (illustré en couleurs, p. 143).



Further details

Venu passer quelques mois en 1888 dans ce coin de Pont-Aven, dont il avait commencé à entendre parler dans les cercles parisiens, Paul Sérusier passe un été qui sera décisif dans sa carrière picturale. D’une part il découvre la force tranquille que dégagent ces terres bretonnes, la lumière d’une qualité exceptionnelle, les habitants prêts à poser dans leurs costumes locaux, et les sujets qui abondent, tous plus pittoresques les que les autres. Subjugué par ce petit coin du Finistère, il s’y installera pendant 2 ans de 1891 à 1893, au village d’Huelgoat, situé à une soixantaine de kilomètres de Pont-Aven. D’autre part, et peut-être le plus important, il rencontre enfin Gauguin qu’il admire depuis quelques temps mais qu’il n’ose approcher. Logeant dans la même pension que lui au Pouldu, il lui est présenté par l’entremise d’Émile Bernard. Peignant encore de manière académique, à la manière de Jules-Bastien Lepage, Sérusier opère un revirement radical dans son traitement des formes et des couleurs, à la suite d’une leçon donnée par Gauguin, au Bois d’Amour.
De retour de Bretagne, Sérusier s’empresse de conter sa rencontre à ses amis peintres parmi lesquels Maurice Denis qui écrit: «C’est à la rentrée de 1888 que le nom de Gauguin nous fut révélé par Sérusier, de retour de Pont-Aven. (…) Ainsi nous fut présenté, pour la première fois, sous une forme paradoxale, inoubliable, le fertile concept de la “surface plane recouverte de couleurs en un certain ordre assemblées”» ( P.- L. Maud, «L’influence de Paul Gauguin», L’Occident, octobre 1903, p. 160-161). Dès lors, l’influence de Gauguin sur Sérusier ne s’éteindra pas, tant dans le traitement que dans les sujets, comme
le montre le profil de la jeune femme présentée ici, dont les traits semblent tout droit tirés du bas-relief de Gauguin sculpté un an auparavant Soyez Mystérieuses.
Cette similitude frappante n’en est pour le moins pas étonnante quand on sait que les peintres venus à Pont-Aven faisaient appel aux mêmes modèles, à savoir les locaux. Ici, à la différence de Gauguin qui idéalise et transpose le visage de la jeune femme dans son œuvre onirique, Sérusier décide d’inscrire le moment dans son cadre breton, avec un arrière-plan très boisé et anguleux, caractéristique du village où il est installé. Tout en gardant en tête les conseils de Gauguin, Sérusier livre ici une approche simplifiée, comme la palette qui se réduit en échelle et en intensité ou bien les zones de couleurs qui s’aplatissent, avec une utilisation beaucoup moins fréquente du petit coup de pinceau. Le contour des sujets se fonce et ressort, contrastant avec la robe unie qui laisse place à un motif nabi simple et décoratif pour le tablier.

Visiting this corner of Pont-Aven for a few months in 1888, which he had heard about in the Parisian circles, Paul Sérusier spent a summer that would be decisive in his artistic career. He discovered the quiet strength that those Breton lands exude, the exceptional quality of its light, the inhabitants who were prepared to pose in their local costumes, and the abundance of subjects, each one more picturesque than the last. Captivated by this tiny corner of the Finistère, he would settle there for two years, from 1891 to 1893, in the village of Huelgoat, some sixty kilometres from Pont-Aven. Moreover, and perhaps most importantly, he finally met Gauguin, who he has admired for some time, but who he had not dared to approach. Staying at the same pension in Pouldu, they were introduced to one another through Émile Bernard. Still painting in an academic manner, in the manner of Jules-Bastien Lepage, Sérusier underwent a radical change of direction in his treatment of shapes and colours, following a lesson by Gauguin in the Bois d’Amour.
On his return from Brittany, Sérusier was quick to recount their meeting to his painter friends, including Maurice Denis, who wrote: “Early in the 1888 academic year, the name of Gauguin was revealed to us by Sérusier, returning from Pont-Aven. (…) And so we were presented, for the first time, with a paradoxical, unforgettable form, the fertile concept of the “flat surface covered with colours assembled in a certain order.” (P-L. Maud, “The influence of Paul Gauguin”, L’Occident, October 1903, p. 160-161). From then on, Gauguin’s influence on Sérusier would not diminish, both in his treatment, as well as in the subjects, as demonstrated by the profile of the young woman presented here, whose features seem to be taken directly from Gauguin’s bas-relief, Soyez Mystérieuses, carved one year earlier.
This striking similarity is very much unsurprising, knowing that the painters who visited Pont-Aven shared the same models, namely the locals. Here, unlike Gauguin, who idealized and transposed the face of the young woman in his dreamlike piece, Sérusier decided to place the moment in his Breton setting, with a highly wooded and angular background, characteristic of the village where he was staying. Whilst keeping Gauguin’s advice in mind, here Sérusier took a simplified approach, such as in his palette, which is reduced in scale and intensity, and the areas of colour which are flattened, with much less frequent use of small brushstrokes. The outline of the subjects darken and stands out, contrasting with the plain dress, giving way to a simple and decorative nabi motif on the apron.

Artist:Paul Sérusier (1864 - 1927)
Applied technique:Oil on canvas
Genre:Portrait
Auction house category:Paintings
Address of auction CHRISTIE'S
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75008 Paris
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