- Gallery Text
A close acolyte of Gauguin, Schuffenecker gradually evolved from academic artist to impressionist, before finally tending toward a mystical brand of symbolism, of which this landscape is a prime example. In 1889, Schuffenecker, Gauguin, Émile Bernard, and others contributed to the Café Volpini exhibition; and it was on this occasion that Schuffenecker and Gauguin coined the term synthétisme to refer to their collective aesthetic approach. They believed art should be a synthesis of the artist’s feelings about his subject, the outward appearance of natural forms, and purely aesthetic considerations of line, color, and shape.
Landscape with an Orange Tree was most likely completed during one of Schuffenecker’s excursions into the French countryside, where he is known to have drawn outdoors with pastel. He created vaporous forms and a veiled atmosphere by exploiting pastel’s uniquely velvety softness—a property that Huysmans described as creating an evanescent and luminous effect. Schuffenecker’s free use of complementary and often flat color masses may follow from Gauguin’s advice not to paint too closely from nature.
- Identification and Creation
- Object Number
Claude Emile Schuffenecker, French (Fresne-Saint-Mamès, Franche-Comté, France 1851 - 1934 Paris, Île-de-France, France)
- Landscape with an Orange Tree
- Work Type
- Physical Descriptions
- Pastel on cardboard
- 50.2 x 66 cm (19 3/4 x 26 in.)
- Inscriptions and Marks
- inscription: Verso, secondary board top left corner in black ink: No. 9
- stamp: Recto, bottom right corner, red-brown stamp: Atelier stamp: The letters E and S with a lotus-like flower to the right of the letters.
- Private collection, France (since the early 20th century) sold; to [Emmanuel Marty de Cambiaire, Paris] sold; to [Eric Gillis Fine Art, Brussels] sold; to Harvard Art Museums, 2015
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Richard Norton Memorial Fund and Marian H. Phinney Fund
- Accession Year
- Object Number
- European and American Art
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- Publication History
Catalogue16: 1824-1907 / Paintings & Drawings, auct. cat., Eric Gillis Fine Art (Brussels, 2015), no. 14, repr. p. 33
Marty de Cambiaire: Dessins & Esquisses, auct. cat., Marty de Cambiare (Paris, 2015), p. 98, pp. 139-140, repr. pp. 100-101, repr. p. 140.
Carey Dunne, Flowers of Evil and the Macabre Literary Imagination of Symbolism, Hyperalleric (July 4, 2016), [e-journal], http://hyperallergic.com/305877/flowers-of-evil-and-the-macabre-literary-imagination-of-symbolism/, accessed January 9, 2017
Franklin Einspruch, Fuse Visual Art Review: A Pair of Drawing Shows at the Harvard Art Museums, The Arts Fuse ([e-journal], June 9, 2016), repr., http://artsfuse.org/146319/fuse-visual-arts-review-a-pair-of-drawing-shows-at-the-harvard-art-museums/, accessed June 9, 2016
- Exhibition History
Flowers of Evil: Symbolist Drawings, 1870–1910, Harvard Art Museums, Cambridge, 05/21/2016 - 08/14/2016
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