Guillaumin began his artistic career by studying at the Académie Suisse in 1861, where he met Cézanne and Pissarro with whom he maintained lifelong friendships. 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'. Both artists used carefully constructed pictorial compositions, incorporating perspectives opened up by winding paths upon which there is an atmospheric play of light and shadow, as we find here.
However, during the 1880s Guillaumin moved away from Impressionism, as he became closely involved with the growing Neo-Impressionist and Symbolist movements. During this time his work was exhibited alongside Signac, Seurat and Odilon Redon at the first Salon des Independents of 1883. He then exhibited with Van Gogh during his time in Paris in 1886-7, and between 1887 and 1889 was invited to exhibit with the Synthetists, Gauguin and Emile Bernard. In 1886 the critic Félix Fénéon, upon seeing his work, celebrated the 'battle of greens, purples, mauves and yellows' and use of 'broad impasto'.
During this period of change, it is significant that Guillaumin shifted in his normal practice from painting at midday, as favoured by the Impressionists, which characteristically resulted in a palette structured around a yellow-blue contrast, to painting in the early morning or evening, with its corresponding red-green cast. It is richly painted works such as this which influenced the younger Fauve artists including Matisse and Friesz.
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.
Private Collection, France
This work will be included in the second volume of the catalogue raisonné of the work of Armand Guillaumin currently being prepared by the Committee Guillaumin Dominique Fabiani, Stephanie Chardeau Botteri-Jacques & the Béraudière.
This work is accompanied by a certificate of the Guillaumin Committee dated March 17, 2015.