Landscapes for Contemplation in the Pont-Aven Museum
From sketch to canvas, from bold strokes to layered flat-tint colors, the pictorial creations of the École de Pont-Aven (Pont-Aven School) reflected a unique relationship between nature and the painters who found a place of artistic elevation in Brittany.
Nature as a source of inspiration
In response to the urban and industrial transformations underway at the time, woods, fields and forests began to fill the compositions created by the artists, who found not only a source of inspiration in nature, but also refuge from the fear of progress.
Harvest scene (Non daté) by Paul SérusierMuseum of Pont-Aven
The influence of nature is particularly illustrated by the depiction of rural and countryfolk scenes.
The Breton land (1892/1893) by Paul SérusierMuseum of Pont-Aven
In this lithography, Paul Sérusier depicted another scene of fields. With its tiered composition, this incorporates the aesthetic codes of rural life.
Le Bois d'Amour
The Bois d’Amour, just a stone's throw from the heart of Pont-Aven, is one of the natural spots that provided a source of inspiration for painters. In fact, it features as a predominant decorative element in many of Émile Bernard's creations.
House on the roadside (Vers 1893-1894) by Robert BevanMuseum of Pont-Aven
Drawing: a creative precursor for the finished work
Drawing is an essential step in the creative process, as it constitutes the mental projection of the artist's lived sensations.
Sketched live and outdoors, the serpentine lines and the arabesques intertwine and create a new nature.
This drawing by Robert Bevan is characterized by its soft, undulating lines, which form a unique composition. Using only charcoal, the artist transports the spectator into his own impression of the landscape.
Farmyard in Le Pouldu (Vers 1890) by Paul SérusierMuseum of Pont-Aven
The artists often sketched live and created a minimal version of what they saw.
The aim was to find a view freed from the restraints of academic conventions, to give free rein to their sensations as opposed to reality, and use a more abstract grammar and visual vocabulary.
Tree landscape (Vers 1894) by Roderic O’ConorMuseum of Pont-Aven
Irish painter Roderic O’Conor considered drawings to be works of art in their own right. Both soft and bold in execution, sketches can indeed be an art form in their own right.
The Church at Saint-Nolff (Vers 1892) by Mogens BALLINMuseum of Pont-Aven
Synthetist art and the chromatic range among artists
A lot of thought went into these landscapes, shaped by the aesthetics of the Synthetism movement.
Translated by irregular bands and flat-tinted colors, the various compositions see their perspectives transformed by the presence of clusters, which seek out shapes and structure the canvases.
Immerse yourself in the heart of Mogens Ballin's painting Paysage à St-Nolff (Landscape in St Nolff) through this explanatory video!
Web series Surtout les Tableaux (Especially Paintings): Discover the history of a painting in just one minute
Landscape of Châteauneuf-du-Faou (Début XXe siècle) by Paul SérusierMuseum of Pont-Aven
This study by Sérusier reveals the importance of color in the creations of Synthetist artists. Each element of the composition is colored in advance, allowing the space to be organized and creating a dialogue between shapes.
Landscape at Pont-Aven with Poplars (Vers 1888) by Emile BERNARDMuseum of Pont-Aven
The landscape has been successfully simplified in this depiction of Pont-Aven. Émile Bernard's feelings are conveyed through this stylized form of nature, which allies warm chromatic tones with one another.
Japonism
After Japan opened up to the world from the late 19th century onward, Japanese prints could often be seen in Parisian art circles. Beyond simply collecting them, artists from the Pont-Aven School seized on the principles of framing and simplifying shapes, then applied these principles in their own work.
The Red Tree by Charles FILIGERMuseum of Pont-Aven
The influence of Japonism is perfectly demonstrated in this creation by Filiger, combining gouache, gold, and watercolors. Through this rich, chromatic composition, the shapes and motifs form a unique landscape.
Pont-Aven Landscape or The Red Tree (1888/1888) by Emile BERNARDMuseum of Pont-Aven
Created by Émile Bernard, this oil on canvas painting demonstrates the strong adoption of Japanese aesthetic codes through both the artist's choice of color and the way in which the scene is framed.
Rocky Landscape, Le Pouldu (Vers 1891) by Charles FILIGERMuseum of Pont-Aven
This creation by Filiger catches the spectator's eye with its range of unique colors and the overlaying flat-tint bands. This gouache on card takes the viewer on an aesthetic journey.
Created by Nolwenn-Marie Biamba, apprentice
Contributors:
Sophie Kervran, director of museums
Camille Armandary, in charge of exhibitions and communication
