Museo Thyssen-Bornemisza - Inicio

Versión española

Buy tickets

Renoir: Intimacy

From 18 October 2016 to 22 January 2017


Early booking is recommended



Autor:
Pierre-Auguste Renoir
Título:
After the Luncheon, 1879
Técnica:
Oil on canvas. 100.5 x 81.3 cm
Ubicacion:
Städel Museum, Frankfurt am Main
© Städel Museum - U. Edelmann - ARTOTHEK
  • Home
  • The Fire at the River ...

Carmen Thyssen-Bornemisza Collection

Autor:
Paul Gauguin
Título:
The Fire at the River Bank
Fecha:
1886
Técnica:
Oil on canvas
Medidas:
60 x 38 cm
Úbicacion:
Carmen Thyssen-Bornemisza Collection on loan at the Museo Thyssen-Bornemisza
Numero de inventario
INV. Nr. (CTB.1993.4)

More information about this work




Certain pictures readily conform to the prevailing view of an artist's oeuvre at a particular moment in his career. Others-odd-ones out, so to say-strike a different note from the usually accepted view: eccentric and nonconformist. Our conception of Gauguin in Pont-Aven in 1886-his first visit to Brittany-is dominated by landscapes of the locality whose "Breton-ness" is not unduly exaggerated. An unspoilt, pastoral ambience could be mistaken for a rural idyll, especially when, in introducing figures, Gauguin presents us with picturesquely costumed young women of Pont-Aven.

This strange, almost malevolent painting has acquired a rather misleading title. The landscape element does not immediately and unequivocally proclaim a Pont-Aven provenance. A hillside declines to the bank of a river, on which the masts of two sail-boats can be discerned, with a glimpse of the far bank, and just a little sky. And rather than the quaintly costumed Bretonnes, all the actors in this enigmatic drama are male. Men whose caps, at least in three instances, suggest douaniers are gathered around mysterious fires that burn not far from the river's bank. In a sketchbook used by Gauguin in Brittany in 1886 is a sequence of five consecutive pages in which highly schematic drawings of douaniers and other male figures can be seen-as well as a skeletal compositional sketch. Several of these hastily executed figures reappear in the painting. The adapted Impressionist morphology of brushstroke and colour articulation typifies Gauguin's style during his three months' stay in Pont-Aven. In that respect, the painting qua painting conforms to our expectations. What was thematically aberrant (a cause of contraband?) turns out to be stylistically conformist.

Ronald Pickvance

Go to the shop

Recommended artists

Recommended works

© 2009 Museo Thyssen-Bornemisza

Paseo del Prado 8, 28014 Madrid, España

We use our own cookies and those of third-parties to analyze the use of our website and display personalized advertising. If you continue browsing, we will consider that you consented to its use. For more information see our Cookie Policy.