Jean-Francis AUBURTIN (1866-1930) - Lot 175

Lot 175
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4000 - 6000 EUR
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Jean-Francis AUBURTIN (1866-1930) - Lot 175
Jean-Francis AUBURTIN (1866-1930) Landscape at the Mordal cliffs in Varengeville Gouache and pencil on rag paper Monogrammed lower right 26 x 70 cm Period oak frame Bibliography: Collectif, Géraldine Lefebvre, Monet -Auburtin: Une rencontre artistique, 21 mars 14 juillet 2019, Musée des Impressionnistes, Giverny, Gallimard, p. 156 n°103. Exhibition: Giverny, Musée des Impressionnistes, Monet-Auburtin une rencontre artistique, March 21 - July 14, 2019. Over the past twenty years, numerous exhibitions have brought Jean-Francis Auburtin's work back into the limelight. In 2019 in particular, the Musée des Impressionnismes de Giverny's fine exhibition Monet-Auburtin une rencontre artistique, shows us the dialogue between the two artists. The museum now holds two fine paintings by Auburtin: Parc de pêche à Pourville and Les rayons jaunes aux falaises de Mordal. Although Auburtin follows in his elder's footsteps, there is no imitation of the former by the latter. Motifs and framings are often identical, but the support, medium and manner are different. The coarse, coarse-grained mill rag paper favors the matte aspect of the gouache he favors, with the occasional small touch of pastel. However, in Normandy between 1897 and 1898, he produced a series of watercolors in Japanese style, framed in Indian ink and annotated day by day like a small diary. Auburtin planted his easel in front of the most beautiful motifs on the Normandy coast: Etretat, Pourville, Dieppe and, of course, Varengeville, where he lived for more than 10 years in his house "La Mazurie", built by his architect brother Jean-Marcel, designer of numerous seaside villas in Houlgate and also of the famous Villa Ephrussi de Rothschild in Saint-Jean-Cap-Ferrat. The "Symbolist of the Sea" tirelessly walked the customs paths along the French coast, taking refuge in the customs hut at Varengeville near the Gorge du petit Ailly. The same Varengeville to which Monet returned in 1897-1898 to draw inspiration from the same marine horizons... Auburtin excelled at capturing variations in light, with stormy skies or morning mists in celadon tones, and the blaze of sunsets, views often taken from the small marine cemetery of the Varengeville church facing the Dieppe cliffs, as in the present canvas.
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