Paysage

 

photo

Paul Sérusier (1864-1927), Paysage, color lithograph, 1893, signed and numbered (42) in pencil lower left, from the edition of 100 published in L’Estampe Originale, with their blindstamp lower right (Lugt 819), in generally good condition, wide margins (slight creasing at edges), 9 x 11 3/4, the sheet 16 1/4 x 22 inches. 

Provenance:

Unidentified collector (purple oval ink stamp verso, not in Lugt)

A fine fresh impression, printed on canary yellow paper.

In 1888, Sérusier arrived at Pont-Aven in Brittany, a town popular among French and foreign artists, where he was attracted to a group of artists who crowded around Emile Bernand and Paul Gauguin. Gauguin encouraged the young painter to release himself from the constraints of imitative painting, to use pure colors, not to hesitate to exaggerate his impressions, and to give to the painting his own, decorative logic and symbolic system.

Sérusier returned to Paris, and began arguing for this new approach to painting; together with friends who shared the new ideas (Pierre Bonnard, (1867-1947), Maurice Denis (1870-1943), Henri Ibels (1867-1936) and Paul Ranson (1862-1909), Sérusier formed a group, which they called Nabis (Hebrew “prophets”). They met regularly to discuss theoretical problems of art, symbolism, occult sciences and esotericism. Later, Armand Seguin, Edouard Vuillard (1868-1940) and Kerr-Xavier Roussel (1867-1944) joined the group. However, after Gauguin’s departure to Tahiti, in 1891, the group gradually fell apart and its members developed separately.

In the summer of 1892 Sérusier returned to Brittany, to the small village Huelgoat, where he worked for the next two years, focusing on the Breton countryside and its peasants, as exemplified by Paysage.