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Hyperrealism. 1967-2012

22 March to 9 June 2013

Advance purchase is recommended

Autor:
Tom Blackwell
Título:
Triumph Trumpet (detail)
Fecha:
1977
Técnica:
Oil on canvas
Medidas:
180 x 180 cm.

Ubicacion:
Private Collection, New York.
image © Tom Blackwell photo © Louis K. Meisel Gallery, New York

<exchanging gazes> 5: Interior Scenes. Women and Daily Life.

New Display of the Collections

From 26 February to 2 June 2013

Autor:
Nicolas Maes
Título:
The Naughty Drummer
Fecha:
c. 1655
Técnica:
Museo Thyssen-Bornemisza, Madrid. Nr. INV. 241 (1930.56)

Carmen Thyssen-Bornemisza Collection

Autor:
Paul Gauguin
Título:
In the Henhouse
Fecha:
ca. 1878
Técnica:
Oil on cardboard
Medidas:
22 x 35.5 cm
Úbicacion:
Carmen Thyssen-Bornemisza Collection on deposit at Museo Thyssen-Bornemisza
Numero de inventario
INV. Nr. (CTB.1999.35)

More information about this work

Through Pissarro, Gauguin was invited to participate in the Fourth Impressionist Exhibition, exhibiting a marble bust, although this work did not appear in the catalogue. In the following year, however, the artist entered the Impressionist circle through his participation in the group's Fifth exhibition, with eight of his paintings included. From this point onwards, Gauguin began to paint seriously rather than as a hobby

The. present study, executed at this time, has a surprising spontaneity and freshness that reflects his training. The scene in the hen house-black hens and a duck against a background of hay-suggests his master Pissarro's interest in country scenes. It also has more distant echoes, for example, of Greuze's famous painting The Village Bride of 1761, so highly praised by Diderot, in which the hen and her chicks are presented in the foreground as an allegory of the family. Hens reappear as a symbol of primitive life in later paintings by Gauguin executed in Martinique and Tahiti, in which man lives in the company of his animals

Apart. from the symbolic undertones in the choice of subject, the work itself is a brilliant exercise of pure painting, owing more to the influence of Manet in this regard. This influence is evident in the sober chromatic range and particularly in the strong contrast between the black of the birds and the ochre straw, reflecting Manet's example in the use of black as a colour. Gauguin is also a match for Manet in the fluid brushstrokes with which he realises the plumage and the hay stalks

Guillermo. Solana

© 2009 Museo Thyssen-Bornemisza

Paseo del Prado 8, 28014 Madrid, España