Jean Baptiste Armand Guillaumin
1841 - 1927Madame Guillaumin pêchant, c.1894
Signed 'Guillaumin' lower left
Oil on canvas
19 3/4 x 24 1/8 in, 50.2 x 61 cm
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. Often...
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. Often presenting her reading, writing, sewing or fishing, as in the present work, these intimate works 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.
From the mid-1880s 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. In ‘Madame Guillaumin pêchant’ Guillaumin uses a medley of rich and acidic greens contrasted against earthy oranges and browns. 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.
From the mid-1880s 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. In ‘Madame Guillaumin pêchant’ Guillaumin uses a medley of rich and acidic greens contrasted against earthy oranges and browns. 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
Marcel Bernheim, ParisChristies, London, April 23 1971
Kaplan Gallery, London
Christie's, New York, May 8 2002, lot 235
Private Collection, Toronto, Ontario (acquired from the above)