Henry MORET - La chaumière et la rivière blanche, c.1896-1897

La chaumière et la rivière blanche, c.1896-1897

 

Henry MORET (1856 - 1913)

La chaumière et la rivière blanche, c.1896-1897

 

School of painting: Post-Impressionism

Medium: Oil on canvas

Signed lower left

73 x 59 cm
28 ¾ x 23 ¼ inches


zoom image


Provenance:
Private collection, Toulouse


Bibliography:
To be included in the forthcoming Catalogue Raisonné being prepared by M. Jean-Yves Rolland.


Information :
Henry Moret, originally from Normandy, discovered Brittany during his military service in Lorient where he became the student of the local painter Ernest Coroller. He began studying at the Beaux-Arts in 1876 where he was taught by Jean-Léon Gérome and Jean-Paul Laurens. Later he frequented the atelier of Henri Lehmann at the Académie Julian. From the beginning of 1880, he exhibited at the Salon of the French artists.
He settled in Pouldu where he joined the group around Paul Gauguin in 1888 and became one of the most famous artists of the School of Pont-Aven.

Between 1891 and 1895 Moret researched in depth the revelations of Synthetism, in a very personal way. Seduced by the language of colours, he attempted to use smooth and well-defined planes by applying small brush brushstrokes, but larger than the impressionist’s ones. The perspective, which is stacked by the coloured planes doesn’t vanish entirely.

In this work, dating from around 1896-1897, the white plan in the foreground, the terraced planes, the elevated horizon, the contrast of warm and cold tones, the harmonious tones of green, rose and orange pay tribute to the assimilation of the synthetist lesson. This vertical format often used by painters of Pont-Aven, especially by Paul Gauguin and Paul Sérusier, helps to mark the different planes and highlights colours patch.
The Brittany cottages in a landscape were one of the favourite subjects of the artist.
If the coloured of the brush strokes in the background, which indicate decorative and simplifying sensation, the more or less disordered brush strokes in the foreground remind of the impressionist technique. In fact, Henry Moret was returning progressively towards a style closer to Claude Monet under the influence of the art dealer Durand-Ruel, who in 1895, started to sell his paintings in the United States. He continued to use diversionist forms and vivid greens.
Henry Moret transfers his personal vision through a fusion of the two opposed styles between the synthetist form and the impressionist style.



 

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