.jpg?maxwidth=3840)
拍品 103 |Property from the family of Claude Monet
Claude Monet (1840-1926)
Promeneur assis au pied d’un saule
已结束2017年11月26日
成交价
HKD 437,500
更多信息
Claude Monet (1840-1926)
Promeneur assis au pied d’un saule
stamped with signature 'Claude Monet' (Lugt 1819b; lower right)
pencil on paper
12 ¼ x 9 in. (31 x 22.9 cm.)
Executed in 1857
Promeneur assis au pied d’un saule
stamped with signature 'Claude Monet' (Lugt 1819b; lower right)
pencil on paper
12 ¼ x 9 in. (31 x 22.9 cm.)
Executed in 1857
Claude Monet (1840-1926)
Promeneur assis au pied d’un saule
stamped with signature 'Claude Monet' (Lugt 1819b; lower right)
pencil on paper
12 ¼ x 9 in. (31 x 22.9 cm.)
Executed in 1857
Promeneur assis au pied d’un saule
stamped with signature 'Claude Monet' (Lugt 1819b; lower right)
pencil on paper
12 ¼ x 9 in. (31 x 22.9 cm.)
Executed in 1857
Estate of the artist.
Michel Monet, Giverny (by descent from the above).
Rolande Verneiges, France (gift from the above).
By descent from the above to the present owner.
Michel Monet, Giverny (by descent from the above).
Rolande Verneiges, France (gift from the above).
By descent from the above to the present owner.
W. C. Seitz, Claude Monet, New York, 1960, no. 68 (illustrated).
M. Kuroé, 'Claude Monet' in Art moderne du monde, Tokyo, 1971, p. 92 (illustrated).
S. Takashina, Claude Monet, Tokyo, 1981 and 1984, p. 101 (illustrated).
D. Wildenstein, Claude Monet, Catalogue raisonné, Lausanne, 1991, vol. V, p. 75, no. D 89 (illustrated).
Y. Taillandier, Monet, New York, 1993, p. 24 (illustrated).
M. Kuroé, 'Claude Monet' in Art moderne du monde, Tokyo, 1971, p. 92 (illustrated).
S. Takashina, Claude Monet, Tokyo, 1981 and 1984, p. 101 (illustrated).
D. Wildenstein, Claude Monet, Catalogue raisonné, Lausanne, 1991, vol. V, p. 75, no. D 89 (illustrated).
Y. Taillandier, Monet, New York, 1993, p. 24 (illustrated).
With Promeneur assis auprès d’un saule the young Monet focuses his attention on a willow tree. Paying particular attention to its contours and textures, he employs a subtle chiaroscuro effect to create a striking contrast between the dark forms of the tree and the ivory page of the sketchbook. Here, the artist aligns himself with tradition, recalling the picturesque horticultural specimens that were a favourite subject of Dutch landscape painters in the sixteenth- and seventeenth-centuries, as well as the protagonists of the Barbizon School.