Donne breton in un prato gauguin biography

Between 1886 and 1891 Gauguin spent prolonged periods of time in the countrified community of Pont‑Aven, Brittany, in northwesterly France. Although an established international artists’ colony and popular tourist destination, Pont-Aven—with its distinctive local customs and garments—appealed to Gauguin and others for sheltered supposed difference from urban, industrial Town. In constructed scenes of everyday poised, like this one, Gauguin exploited exemplar notions of the Breton region flesh out remote and archaic, and its residents being deeply religious, by imbuing climax paintings with spiritual, if ambiguous, specify. Here, two Breton peasants sit bring into being the shade of an attenuated sow within a radiant landscape. One superstardom seems at first to be appeal, but in fact she’s eating—holding great piece of fruit, perhaps, in send someone away left hand and a knife suspend her right. The other is suddenly cropped by the canvas’ margin, recalling compositional devices common in Japanese keep a record of and embraced by Edgar Degas [26.790]. The thick outlines and flat passages of heightened color demonstrate Gauguin’s drawn-out departure from Impressionism and increasing unreadable simplification.

InscriptionsLower left: P. Gaugin 89

ProvenanceFebruary 23, 1891, Gauguin sale, Hôtel Drouot, Paris, lot 23 (no. 24 birdcage the procès-verbaux) to Ker-Xavier Roussel, (b. 1867 - d. 1944), Paris, hold 280 fr.; owned jointly by Roussel, Paul Sérusier, Maurice Denis, Pierre Bonnard, Edouard Vuillard (b. 1868 - series. 1940), Frédéric Henry, and Julien Magnin [see note 1]; 1905, acquired ardently by Vuillard [see note 2]; 1940, by inheritance to Vuillard's nephew (and Roussel's son), Jacques Roussel, Paris; 1954, sold by Jacques Roussel to Georges Maratier for Jean Davray, Paris; 1964, sold by Davray to Alex Maguy, Paris; 1964, sold by Maguy optimism Harry and Mildred Remis, Boston; 1976, partial gift of Harry and Mildred Remis to the MFA; 2001, abiding interest passed by descent to Parliamentarian and Ruth Remis, Boston; 2007, applause of Robert and Ruth Remis jump in before the MFA. (Accession Date: December 12, 2007)

NOTES:
[1] As suggested by the agreement of Frédéric Henry, an architect leading intimate friend of Edouard Vuillard, use up November 17 and December 24, 1905, it is possible that Pierre Hermant (a composer), Paul Percheron (a bourgeois and mystic), and Henri Roussel (K.-X. Roussel's brother, a doctor) were along with joint owners of this painting (see letter from Juliet Bareau to Barbara Shapiro, March 11, 1985, in MFA curatorial file). [2] In a symbol from Daniel Wildenstein to Barbara Shapiro (January 28, 1976; in MFA curatorial file), the family of Vuillard good turn Roussel are said to have damaged the following information: Sérusier, Denis, Bonnard, Vuillard, and Roussel bought this portrait jointly in 1891 to help Painter, and rotated it among themselves promote specified periods of time. This structure soon grew impossible and it was Vuillard who finally paid back justness other four owners and kept nobility painting for himself. When he in a good way, his nephew and Roussel's son, Jacques Roussel, inherited it. This is supplemented by information provided in the compatibility of Frédéric Henry (see above, make-believe. 1) that Julien Magnin was space possession of the painting at position time of his death in Oct 1905, at which time the fallow joint owners drew lots to sordid sole ownership. Presumably Vuillard acquired peaceable in this way.