1865
Huile sur toile
60 x 140 cm - 23 5/18 x 55 1/8 in.
Collection particulière
Dernière mise à jour : 2022-03-29 07:01:01
Référence : MSb-19
Peint par Bazille pour son oncle Pomier-Layrargues - Mme Brunel - Wildenstein, New York. Matsuzakaya Co. Ltd., Tokyo - Galerie Schmit, Paris - Vente Osaka, Art Sales Japon, 11 décembre 1987 - Vente Paris, Drouot-Montaigne, 18 novembre 1989, n° 46 - Collection particulière.
Caracas, musée de Caracas, 1957, Cien anos de pintura moderna, 1840-1940, n° 7, repr. p. 10 - Columbia, Columbia Museum of Art, I960, Impressionism, n° 3 (repr.) - Chicago, The Art Institute of Chicago, 1978, n° 16, repr. p. 54 - Paris, galerie Schmit, 1994, n° 1 (repr.) - Montpellier, Paris, Washington, 2016-2017, cat. 21, repr. p. 228 et p. 110 [Non exposé] [Les références sont du catalogue en français].
Poulain, Bazille et ses amis, 1932, n° 3, pp. 52, 211 - Sarraute, Catalogue de l'œuvre de Frédéric Bazille, 1948, n° 9, p. 17 [Thèse de l'Ecole du Louvre non publiée] - Daulte, Bazille et son temps, 1952, n° 15/2, p. 172 [Thèse sous la direction de Gaston Poulain] - Isaacson, Monet. Le Déjeuner sur l'herbe, 1972, n° 13, pp. 22, 98-99 - Marandel, Catalogue exp. The Art Institute of Chicago, 1978, n° 16, repr. p. 54 - Daulte, Frédéric Bazille : Catalogue raisonné de l'œuvre peint, 1992, p. 25 (repr. coul.) et p. 159, n° 16 (repr.) [Réédition de 1952 avec photos en couleur] - Michel, Bazille, 1992, p. 96 - Pitman, Cat. exp. Montpellier, New York, 1992-1993, fig. 38, repr. p. 89 - Bajou, Frédéric Bazille, 1993, p. 77 (repr.) - Schulman, Frédéric Bazille : Catalogue raisonné, 1995, n° 32, repr. 132 - Champa, Pitman, Cat. exp. High Museum, Atlanta, 1999, fig. 8, repr. p. 28 - Hilaire, Jones, Perrin, Cat. exp. Montpellier, Paris, Washington, 2016-2017, cat. 21, repr. p. 228 et p. 110 [Les références sont du catalogue en français] - Schulman, Frédéric Bazille : Catalogue raisonné numérique, 2022, n° 19.
Landscape at Saint-Sauveur is the counterpart to the Beach at Sainte-Adresse, since both of these paintings - door tops - were commissioned of Bazille by his uncle Pomier-Layrargues. This is not the first time that Bazille chose Saint-Sauveur as his subject. Indeed, we remember that he had already executed a study of it that we dated to 1863 Farm of Saint-Sauveur. If he reoffends now, it is therefore at the request of his uncle. We refer the reader to our analysis of the two preparatory drawings Study for Landscape of Saint-Sauveur and Study for Landscape of Saint-Sauveur annotated. In it, we explain why we are inclined to believe that the drawings, usually thought to be for the 1863 painting, are in fact for the 1865 Landscape at Saint-Sauveur.
This work gives a dim picture of Bazille's talent and abilities. One wonders what idea drove him to camp the cows and bull in this way. As for the landscape, it is graceless. One can certainly discover in this painting some of the Languedoc accents and the right part, from the grove to the emerging hills, is quite successful. On the left, the farm is lost in the countryside that is dominated by the summarily sketched out Pic Saint-Loup. The palette is not the best. The meadow in the middle of which the animals are resting or grazing is decidedly too green, even if, as Jones says, "Bazille knew how to use a wide format to represent the green meadows of Sainte-Adresse". Nevertheless, the beams of the setting sun gently hitting the farmhouse and the clouds, pinking the atmosphere, give the painting a relatively amenable, Mediterranean feeling. Landscape at Saint-Sauveur has a naïve character that Beach at Sainte-Adresse with its already impressionistic overtones does not. Here, however, Bazille demonstrates a sense of space that is found in other paintings of this period.
