Jean Baptiste Armand Guillaumin
Madame Guillaumin et sa fille à Pontcharra, la Courrerie, c. 1901
Oil on canvas
31 7/8 x 25 5/8 in
81 x 65 cm
81 x 65 cm
Signed lower left
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In 1887 Guillaumin married Marie-Josèphe Gareton in Paris with Gauguin and Degas as his witnesses. This oil painting is one of many depictions the artist created of his wife and...
In 1887 Guillaumin married Marie-Josèphe Gareton in Paris with Gauguin and Degas as his witnesses. This oil painting is one of many depictions the artist created of his wife and daughter. Often depicting them writing, sewing or reading, as in the present work, these intimate images celebrate the joys of everyday life
Guillaumin began his artistic career at the Académie Suisse in 1861, where he met Pissarro and Cézanne. He formed part of the first Impressionist group exhibition in 1874 and participated in six of the eight Impressionist shows. During the early part of the 1870s, Guillaumin worked alongside Pissarro, painting the landscape 'en plein air'. However, by the 1880s Guillaumin moved away from Impressionism, and became involved with Neo-Impressionists, exhibiting alongside Signac, Seurat and Odilon Redon at the first Salon des Independents of 1883. Yet, unlike his Neo-Impressionist colleagues, Guillaumin was little concerned with the scientific theories surrounding the application of paint and its optical effects, instead choosing to follow his own very personal vision of colour.
In ‘Madame Guillaumin et sa fille à Pontcharra, la Courrerie’ Guillaumin uses a medley of rich greens contrasted against brighter blues and purples. Characteristic of his mature work, the strong well defined brush work comprised of short determined strokes accentuates the movement of the trees.
Works by Guillaumin are held by numerous public galleries and museums worldwide including the Art Institute of Chicago, Hermitage Museum, Russia, Metropolitan Museum of Art, New York, Musée D'Orsay, Paris and Tate Gallery, London.
Guillaumin began his artistic career at the Académie Suisse in 1861, where he met Pissarro and Cézanne. He formed part of the first Impressionist group exhibition in 1874 and participated in six of the eight Impressionist shows. During the early part of the 1870s, Guillaumin worked alongside Pissarro, painting the landscape 'en plein air'. However, by the 1880s Guillaumin moved away from Impressionism, and became involved with Neo-Impressionists, exhibiting alongside Signac, Seurat and Odilon Redon at the first Salon des Independents of 1883. Yet, unlike his Neo-Impressionist colleagues, Guillaumin was little concerned with the scientific theories surrounding the application of paint and its optical effects, instead choosing to follow his own very personal vision of colour.
In ‘Madame Guillaumin et sa fille à Pontcharra, la Courrerie’ Guillaumin uses a medley of rich greens contrasted against brighter blues and purples. Characteristic of his mature work, the strong well defined brush work comprised of short determined strokes accentuates the movement of the trees.
Works by Guillaumin are held by numerous public galleries and museums worldwide including the Art Institute of Chicago, Hermitage Museum, Russia, Metropolitan Museum of Art, New York, Musée D'Orsay, Paris and Tate Gallery, London.
Provenance
Private collection (France)Literature
This work is accompanied by a certificate the Comité Guillaumin dated November 2022 and a certificate from Dominique Fabiani dated 30 May 1993The work will be included in the forthcoming second volume of the catalogue raisonné Armand Guillaumin