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Raoul Dufy

From 17 February to 17 May 2014

Early booking is recommended



Autor:
Raoul Dufy
Título:
Open Window, Nice, 1928
Técnica:
Oil on canvas
Medidas:
65,1 x 53,7 cm

Ubicacion:
The Art Institute of Chicago, Joseph Winterbotham Collection
© Raoul Dufy / VEGAP / Madrid, 2015

Paul Delvaux: A Walk with Love and Death

From 24 February to 07 June 2015

Early booking is recommended



Autor:
Paul Delvaux
Título:
The Table, 1946
Técnica:
Oil on canvas
Medidas:
86 x 76 cm

Ubicacion:
Private Collection on deposit at Musée d´lxelles, Brusssels
© Foundation Paul Delvaux, Koksijde, Belgium / VEGAP – SABAM – 2015

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

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