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Lot 4
ARMAND GUILLAUMIN
(1841-1927)
Verger à la lisière d'un bois à Saint-Cheron 28 5/8 x 36 3/8 in (72.7 x 92.4 cm)
US$ 80,000 - 120,000
£59,000 - 89,000

Impressionist & Modern Art

17 May 2017, 17:00 EDT

New York

Lot Details
ARMAND GUILLAUMIN (1841-1927)
Verger à la lisière d'un bois à Saint-Cheron
signed 'Guillaumin' (lower left), inscribed and dated 'Verger à la lisière d'un bois a St. Cheron Juin 93' (to the stretcher)
oil on canvas
28 5/8 x 36 3/8 in (72.7 x 92.4 cm)
Painted in June 1893

Footnotes

  • Provenance
    Private collection (acquired circa 1965), and by descent; sale, Christie's, New York, 22 February 2005, lot 10.
    Acquired at the above sale by the present owner.

    This painting will be included in the forthcoming second volume of the catalogue raisonné of work of Armand Guillaumin currently being prepared by the Comité Guillaumin.

    Verger à la lisière d'un bois à Saint-Cheron is a prime example of Armand Guillaumin's mastery at capturing the overall impression of a landscape using strong lighting and intense colors to create lyrical effects.
    Guillaumin enrolled at the Académie Suisse in 1868, where he became friends with Camille Pissarro and Paul Cézanne, relationships which were to have a profound impact on his career. He shared lodgings with Pissarro at Pontoise in the 1870s, and from 1873 rented a room from Dr Gachet at Auvers-sur-Oise. Guillaumin was one of the founding members of the Impressionist movement, and exhibited in the majority of their eight canonical exhibitions from 1874. In the fifth exhibition in 1880 he exhibited more than twenty landscapes of the environs of Paris. Like his Impressionist contemporaries, Guillaumin set great store in painting en plein air. He set up his easel around Paris, the region around Les Adrets-de-l'Estérel and the region of the Creuse around the village of Crozant. He became a leading figure in the so-called École de Crozant, a group of painters who had a passion for painting the evocative local landscapes. This present work depicts Saint-Cheron, and is a remarkable example of his daring use of the energetic and bold colors for which he was well known. The luminous effect of the sunlight playfully highlight the pinks, yellows, greens, blues and violets in the flowers and grasses. Even with his use of a feverish color palette, Guillaumin creates a soothing and peaceful landscape scene.

    Emil Zola reviewed the 1880 Impressionist Exhibition in the journal Le Voltaire: 'The true revolutionaries of form appear with Mr. Edouard Manet, with the impressionists Messrs. Claude Monet, Renoir, Pissarro, Guillaumin and others still. They propose to leave the atelier where painters have shut themselves up for so many centuries and to go and paint in open air, a simple fact with considerable consequences. In open air, light is not fixed, but rather multiple effects change and transform radically the appearance of things and beings. This study of light [...] is what has been more or less appropriately called impressionism, because the painting then becomes the impression of a moment perceived before nature [...] Messrs. Pissarro, Sisley, Guillaumin have followed Mr. Claude Monet's steps [...] they have applied themselves to representing the pockets of nature around Paris, under true sunlight, without balking at the most improbable effects of color." (quoted in D. Riout, Les écrivains devant l'impressionnisme, Paris, 1989, p. 172-174).
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