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0396 CAMARET, LE PORT Oil on canvas

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图片中的放大镜,支持鼠标滚轮缩放区域大小
图片中的放大镜,支持鼠标滚轮缩放区域大小

拍品信息

作者 EUGENE BOUDIN(1824~1898) 尺寸 54.9×89cm
作品分类 西画雕塑>油画 创作年代 暂无
估价 USD  150,000-250,000
成交价 登录后可查看
专场 印象派及现代艺术日拍 拍卖时间 2018-05-15
拍卖公司 纽约蘇富比有限公司 拍卖会 2018年5月拍卖会
出版
Robert Schmit, Eugène Boudin, 1824-1898, vol. I, Paris, 1973, no. 802, illustrated p. 287
Signed E. Boudin., inscribed Camaret. and dated 72. (lower right)
说明 PROPERTY FROM A PRIVATE COLLECTION
来源
Gustave Templaere, Paris
Sale: H?tel Drouot, Paris, October 29, 1915, lot 2
Durand-Ruel, Paris (acquired at the above sale)
Sale: H?tel Drouot, Paris, March 21, 1963, lot 49
Sale: Palais Galliéra, Paris, December 6, 1968, lot 14
Durand-Ruel Galleries, New York
Acquavella Galleries, Inc., New York
Acquired from the above
相关资料
Boudin’s sun-drenched brushwork was praised by his peers for its ability to capture the ever-changing skies of northern maritime France. He received effusive accolades from other artists, most notably Corot who famously hailed him the “King of the Sky” and Courbet who was moved to declare: “My God, you are a seraph, Boudin! You are the only one of us who really knows the sky” (quoted in Ruth L. Benjamin, Eugène Boudin, New York, 1937, p. 46). These skies inspired a new generation of painters, chief among them Claude Monet, to whom Boudin became a close friend and mentor. After observing Boudin paint for the first time, Monet declared: “Suddenly it was as if a veil had been torn from my eyes. I understood what painting could be. Boudin’s absorption in his work, and his independence, were enough to decide the entire future and development of my painting” (quoted in Peter C. Sutton, Boudin: Impressionist Marine Paintings (exhibition catalogue), Peabody Museum of Salem, Massachusetts, 1991, p. 54).

Depicting the port of Camaret, in far northwestern France on at the end of the Crozon peninsula, the present work is a stunning and graceful testament to Boudin’s favorite subject and to his mature style. Following the Franco-Prussian War of 1870, there was a struggle to understand and define the new national identity within France, and this struggle very much informed Boudin’s artistic pursuits. The country had lost the territories of Alsace and parts of Lorraine to the German Empire, significantly altering the country’s borders, topography and culture, and at this time a universal education system inclusive of French geography was established, forcing the citizenry to grapple with the essential question of what it meant to be French. Landscape painting within France was elevated to a status of even greater importance, and indeed the many seascapes and harbor scenes painted by Boudin in the final decades of the nineteenth century may be viewed as an exploration of this concern. Depicting the delineation between land and sea, coastal imagery was of great import not only for what it allowed Boudin to achieve aesthetically, in exploring and rendering myriad and evolving atmospheric conditions, but also as a visual representation of France’s geographical boundaries at a time when so many of its people felt themselves unmoored.

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