COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1985.R.81
amicoid
DMA_.1985.R.81
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Van Gogh, Vincent
crn
Van Gogh, Vincent
Creator Name
false
Creator Dates/Places:
Dutch, active in France, 1853 - 1890
cdt
Dutch, active in France, 1853 - 1890
Creator Dates/Places
false
Creator Name-CRT:
Vincent Van Gogh
crt
Vincent Van Gogh
Creator Name-CRT
false
Title:
Portrait of Doctor Gachet
otn
Portrait of Doctor Gachet
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1890
oct
1890
Creation Date
false
Creation Start Date:
1890
ocs
1890
Creation Start Date
false
Creation End Date:
1890
oce
1890
Creation End Date
false
Materials and Techniques:
Etching
omd
Etching
Materials and Techniques
false
Dimensions:
Overall: 7 x 5 3/4 in. (17.78 x 14.6 cm.)
met
Overall: 7 x 5 3/4 in. (17.78 x 14.6 cm.)
Dimensions
false
AMICA Contributor:
Dallas Museum of Art
oon
Dallas Museum of Art
AMICA Contributor
false
Owner Location:
Dallas, Texas, USA
oop
Dallas, Texas, USA
Owner Location
false
ID Number:
1985.R.81
ooa
1985.R.81
ID Number
false
Credit Line:
Dallas Museum of Art, The Wendy and Emery Reves Collection
ooc
Dallas Museum of Art, The Wendy and Emery Reves Collection
Credit Line
false
Rights:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
Edouard Vuillard traveled by train to the Brittany resort town of Penchteau in July 1908 to visit his friends Joseph and Lucie Hessel, who had rented a house there called Ker Panurge for much of the summer. Jospeh Hessel was a partner in the large art gallery Bernheim-Jeune, which handled Vuillard's work as well as that of his friend Pierre Bonnard. While in Brittany with the Hessel family, Vuillard was inspired to make a large number of works, among the most important of which is "The Tent," which he referred to in his journal entry on 29 July as "a sketch in tempera, the tent." He had traveled to Brittany with Alfred Natanson, who, with his brother Thade, founded "La Revue blanche," Alfred's wife, the actress Marthe Mellot, and their two daughters. Later in the month, the painter Bonnard, his common-law wife Marthe, and Vuillard's mother arrived to complete the house party. During the residence in the large house, many others came for luncheons, dinners, and long leisurely afternoons, and Vuillard represented these occasions almost as if he were a court painter for the Jewish intelligentsia.Photographs probably dating from 28 July 1908 by both Vuillard (who was a gifted and passionate photographer) and Alfred Natanson documents an afternoon visit to Ker Panurge by other friends, including the writers Romain Coolus and Tristan Bernard, and Bernard's wife, Marcelle Aron. Many of these photographs are sited in and around a striped garden tent set up to protect the weekend party from the wind and sun of the Brittany coast. Vuillard made many sketches of this afternoon, two of which are preserved in the Reves Collection.Many friends of Vuillard recall that he was an obsessive draftsman, that he was virtually always present with a small sketchpad and pencil, and that he made thousands of sketches throughout his life. Many of these survive, and most of the ones from the early years of the 20th century are closely related to these sheets in technique and purpose. The artist drew sheets of this sort, called "croquis" in French, with a burst of energy while staring fixedly at his motif. The aim of the "croquis" was not to look at the drawing, but the create, using a few simple gestures, an instant diagram of a particular scene that might become the scaffolding for a subsequent work of art. As such, "croquis" can be preparatory, and they constitute and intensive form of visual research. Vuillard himself probably employed them in concert with his photographs as an aide-mmoire when constructing his larger works.Vuillard's own description of "The Tent" as a "sketch" ("pochade") links it to impressionist practice. Monet used the same word in describing his sketches of the waterside caf La Grenouillre in 1869. Vuillard, like Monet, wanted his work to convey the immediacy experienced at the site - in this case, a windy coastal garden in Brittany - and so it does. "The Tent" is alive with gesture, as is a slightly smaller and differently constructed work called "La Tent raye" (1908, private collection, Geneva). Our eyes pass rapidly across the surface, alighting at a figure of a part of the ten, but never for very long. Like the impressionists, Vuillard was interested in entrapping the entire visual field. As we look at his "sketch," we feel precisely the sensation of a blustery, windswept afternoon when we attempt a conversation, perhaps after having a little too much wine at lunch. The discreet pleasures of bourgeois life have seldom had a better visual archivist than Vuillard."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," pages 138-139
cxd
Edouard Vuillard traveled by train to the Brittany resort town of Penchteau in July 1908 to visit his friends Joseph and Lucie Hessel, who had rented a house there called Ker Panurge for much of the summer. Jospeh Hessel was a partner in the large art gallery Bernheim-Jeune, which handled Vuillard's work as well as that of his friend Pierre Bonnard. While in Brittany with the Hessel family, Vuillard was inspired to make a large number of works, among the most important of which is "The Tent," which he referred to in his journal entry on 29 July as "a sketch in tempera, the tent." He had traveled to Brittany with Alfred Natanson, who, with his brother Thade, founded "La Revue blanche," Alfred's wife, the actress Marthe Mellot, and their two daughters. Later in the month, the painter Bonnard, his common-law wife Marthe, and Vuillard's mother arrived to complete the house party. During the residence in the large house, many others came for luncheons, dinners, and long leisurely afternoons, and Vuillard represented these occasions almost as if he were a court painter for the Jewish intelligentsia.Photographs probably dating from 28 July 1908 by both Vuillard (who was a gifted and passionate photographer) and Alfred Natanson documents an afternoon visit to Ker Panurge by other friends, including the writers Romain Coolus and Tristan Bernard, and Bernard's wife, Marcelle Aron. Many of these photographs are sited in and around a striped garden tent set up to protect the weekend party from the wind and sun of the Brittany coast. Vuillard made many sketches of this afternoon, two of which are preserved in the Reves Collection.Many friends of Vuillard recall that he was an obsessive draftsman, that he was virtually always present with a small sketchpad and pencil, and that he made thousands of sketches throughout his life. Many of these survive, and most of the ones from the early years of the 20th century are closely related to these sheets in technique and purpose. The artist drew sheets of this sort, called "croquis" in French, with a burst of energy while staring fixedly at his motif. The aim of the "croquis" was not to look at the drawing, but the create, using a few simple gestures, an instant diagram of a particular scene that might become the scaffolding for a subsequent work of art. As such, "croquis" can be preparatory, and they constitute and intensive form of visual research. Vuillard himself probably employed them in concert with his photographs as an aide-mmoire when constructing his larger works.Vuillard's own description of "The Tent" as a "sketch" ("pochade") links it to impressionist practice. Monet used the same word in describing his sketches of the waterside caf La Grenouillre in 1869. Vuillard, like Monet, wanted his work to convey the immediacy experienced at the site - in this case, a windy coastal garden in Brittany - and so it does. "The Tent" is alive with gesture, as is a slightly smaller and differently constructed work called "La Tent raye" (1908, private collection, Geneva). Our eyes pass rapidly across the surface, alighting at a figure of a part of the ten, but never for very long. Like the impressionists, Vuillard was interested in entrapping the entire visual field. As we look at his "sketch," we feel precisely the sensation of a blustery, windswept afternoon when we attempt a conversation, perhaps after having a little too much wine at lunch. The discreet pleasures of bourgeois life have seldom had a better visual archivist than Vuillard."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," pages 138-139
Context
false
Related Image Identifier Link:
DMA_.1985_R_81.tif
ril
DMA_.1985_R_81.tif
Related Image Identifier Link
false