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拍品 223
Georges Rouault (1871-1958)
Paysage animé
已結束2017年3月1日
成交價
GBP 93,750
更多資訊
專家說明
The late Isabelle Rouault confirmed the authenticity of this work.
Between 1910 and 1919, Rouault executed some sixty landscapes. Acknowledging the more peaceful nature of this subject matter, Rouault wrote to his friend the writer André Suarès on 25th June 1913: "I feel at ease, this religious, landscape-oriented work…will happily offset the more satirical and grotesque aspects of my work.” (see: B. Dorival & I. Rouault, Rouault, l’Œuvre Peint, vol. 1, Monaco, 1988, p. 225). The religious element Rouault mentions in this letter is plainly symbolised by the inclusion of the church tower within the composition.
In addition, Rouault uses the tower and the verticality of the trees to off-set the striking width of the composition typical of his landscapes of this period. “Rouault’s landscapes are dominated by a sense of width which requires a vertical element, capable of making the various depths of the painting…blend together, in order to give them consistency. This vertical element often takes the form of trees or…spires” (op. cit. B. Dorival & I. Rouault, pp. 226-227). The right hand section of this work relates closely to the oil and pastel Au bord du lac (Printemps), 1913 (B. Dorival & I. Rouault, no. 792). Rouault met the Czech printer Joseph Florian in 1912 and subsequently collaborated with him on a number of albums reproducing his works.
Between 1910 and 1919, Rouault executed some sixty landscapes. Acknowledging the more peaceful nature of this subject matter, Rouault wrote to his friend the writer André Suarès on 25th June 1913: "I feel at ease, this religious, landscape-oriented work…will happily offset the more satirical and grotesque aspects of my work.” (see: B. Dorival & I. Rouault, Rouault, l’Œuvre Peint, vol. 1, Monaco, 1988, p. 225). The religious element Rouault mentions in this letter is plainly symbolised by the inclusion of the church tower within the composition.
In addition, Rouault uses the tower and the verticality of the trees to off-set the striking width of the composition typical of his landscapes of this period. “Rouault’s landscapes are dominated by a sense of width which requires a vertical element, capable of making the various depths of the painting…blend together, in order to give them consistency. This vertical element often takes the form of trees or…spires” (op. cit. B. Dorival & I. Rouault, pp. 226-227). The right hand section of this work relates closely to the oil and pastel Au bord du lac (Printemps), 1913 (B. Dorival & I. Rouault, no. 792). Rouault met the Czech printer Joseph Florian in 1912 and subsequently collaborated with him on a number of albums reproducing his works.