ARMAND GUILLAUMIN (1841-1927) - Lot 21

Lot 21
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Estimation :
30000 - 50000 EUR
ARMAND GUILLAUMIN (1841-1927) - Lot 21
ARMAND GUILLAUMIN (1841-1927) The banks of the Bièvre, 1875 Oil on canvas Signed and dated '[18]75' lower left Oil on canvas, signed and dated '[18]75' lower left 60 x 73 cm - 23 5/8 x 28 3/4 in. A certificate of inclusion in the second volume of the Armand Guillaumin catalog raisonné, drawn up by the Comité Guillaumin on April 21, 2011, will be given to the buyer. Provenance - Floralies 2012, Tableaux-XIXe, impressionnistes, modernes et contemporains [...], Éric Pillon Enchères, Versailles, Hôtel des ventes du Château, May 13, 2012, lot 40 - Private collection, Europe (acquired in previous sale) "[...] Let's focus on the picturesque evocations of the Bièvre, which in those distant days still flowed uncovered in the Gobelins district, and whose banks Guillaumin followed from Rue Croulebarbe to the fortifications and even as far as Arcueil-Cachan, in order to paint its most striking aspects. Twenty years before J.-K. Huysmans described these parts magnificently, Guillaumin felt their sordid beauty and depicted them for us." Georges Lecomte "1875 was a disappointing year for the Impressionists. The accounts of the 1874 exhibition had to be settled. In December '74, Renoir took the initiative of calling a meeting of the members of the Société Anonyme Coopérative to inform them that the liabilities had risen to F: 3713, while the cash on hand was F: 227. It was decided to hold a public sale to raise funds. The sale took place on March 24, 1875, and does not appear to have included any works by Guillaumin. Durand Ruel took his place at the expert's table. A cabal was set up to turn the sale into a monster racket. Despite the efforts of moneyed friends such as Duret, Caillebotte, Choquet and a few others, the result was a failure, with many paintings having to be taken back by the artists, and the sums obtained far below forecasts. Berthe Morisot obtained the highest prices. Pissarro, far from being discouraged, was preparing the constitution of a new Association called "l'Union artistique". It was a particularly difficult year for many artists, especially Claude Monet, who was in dire straits. Unfortunately, the dark period was to last. Early in 1875, Cézanne moved to Quai d'Anjou, near Guillaumin. He received a small pension from his family and managed to get by quite well, as did Guillaumin, who was thrifty enough to use his salary. The two friends lived modestly, but were not particularly unhappy. They painted together on the banks of the Seine and frequently visited Doctor Gachet in Auvers on Sundays. Duret, the Group's commensal and adviser, appreciated Guillaumin's painting, and in a letter dated June 12, 1875, Pissarro wrote to Duret: "I am very happy to learn that you have acquired Guillaumin's Mauresque. He's a good boy whom I like very much. He currently has a first-rate Bord de Seine landscape at Tanguy. If you have a moment, go and see it." We find the good Père Tanguy in his store, where a veritable Cenacle of "Impressionism" is held. The trio of Cézanne, Pissarro and Guillaumin was solidly united, and the importance and influence of Docteur Gachet cannot be over-emphasized, particularly for Guillaumin, who found not only moral and material support but also a marvellous opportunity to relax in the pleasant surroundings of Auvers. The Union Artistique created by Pissarro led to the 1876 exhibition. It was held at Durand Ruel's, but neither Manet, Cézanne nor Guillaumin took part, following a disagreement with certain Group members belonging to Degas' clan, who formed a veritable court around him". Raymond Schmit, "Armand Guillaumin dans son temps", in. Georges Serret and Dominique Fabiani, Armand Guillaumin, 1841-1927, Catalogue raisonné de l'œuvre peint, Paris: Éditions Meyer, 1971, pp. 45 - 46.
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