View allAll Photos Tagged Moisson
... Profitant des derniers beaux jours de fin d'été, une balade à la campagne nous fait réaliser que l'automne n'est pas loin... Des meules de foins jonchent les grands champs prêt pour les réserves de l'hiver afin d'assurer la nourriture aux animaux de ferme... Quel beau décor naturel pour des photos !...
Photo prise dans Notre Majestueux Parc de la Gatineau ... sur le chemin Cross Loop...
__________
" Harvest " ... Benefitting from the last beautiful days of end of summer, one strolls in the countryside makes us realize that the fall season is not far... Haystacks strew the large fields loan for the reserves with the winter in order to ensure food the animals of farm... What a beautiful natural photo Studio! …
Photo taken in Our Beautiful Park of Gatineau… on Cross Loop Rd...
__________
Le 3 aout au dessus de Saint Mihiel département de la Meuse.
After the harvest on August 3rd above Saint Mihiel Meuse France.
Les champs sont labourés les usines rayonnent
Et le blé fait son nid dans une houle énorme
La moisson la vendange ont des témoins sans nombre
Rien n'est simple ni singulier
La mer est dans les yeux du ciel ou de la nuit
La forêt donne aux arbres la sécurité
Et les murs des maisons ont une peau commune
Et les routes toujours se croisent.
Paul GAUGUIN
France 1848 – French Polynesia 1903
Yellow haystacks (The golden harvest)
[Les meules jaunes (La moisson blonde)] 1889
oil on canvas
canvas 73.5 (h) x 92.5 (w) cm
Musée d'Orsay, Paris , Gift of Mrs Huc de Monfreid 1951
© RMN (Musée d'Orsay) / Hervé Lewandowski
PREVIOUS
This work was painted during Gauguin’s third sojourn in Brittany, after the notorious episode with van Gogh at Arles. 1889 was a testing year for Gauguin: he was desperate for public recognition, to prove himself in the eyes of his estranged wife Mette. From Arles he had retreated to Paris, where feverish preparations for the 1889 Exposition Universelle were underway. In the first part of the year he alternated between Pont-Aven and the capital, making arrangements for an exhibition—Groupe Impressioniste et Synthétiste—which opened on 8 June at Volpini’s Café des Arts. Like many artists, Gauguin saw the Universal Exhibition as an opportunity to draw attention to his work; he produced a portfolio of zincographs—images which repeat and expand on his work in Brittany, Arles and Martinique—printed on brilliant yellow paper.
Returning to Brittany for the summer, Gauguin found Pont-Aven so overtaken by artists that in July he sought quiet at the small fishing village of Le Pouldu, travelling between the two until February 1890. During his time in Le Pouldu, Gauguin lived cheaply, relishing the connections between people and land, and the ‘archaic’ way of life. He often returned to the theme of the haystack, or to views of the harvesting of seaweed. Like several earlier works—his landscape painted at Arles in 1888, which also featured a haystack, as well as the study of haymakers and another harvest scene1—Yellow haystacks features a palette dominated by flamboyant yellow, perhaps influenced by his time with van Gogh.
Gauguin sought to express harsh, primitive aspects of the Breton landscape through technique as well as subject. The dry, matt, even rustic technique—the texture of the haystack, whitewashed walls, grassy mound and ground strewn with straw—is applied to advantage in this work. As Thomson points out, it is ‘the strength of the underlying design rather than the colour or brushwork that establishes harmony: lines are smoothed and simplified and strong rhythms established through repeated shapes’.2 The stones of the rock wall in the mid-ground are echoed in the curves of the haystacks and grassy mounds at left. The Cézanne-like brushstrokes of the tree are reprised in the foreground. The female figures in traditional Breton costume are dwarfed by the huge mass of the hay; indeed, standing on her step ladder, the woman at right seems about to be engulfed by the stack. The central figure is repeated in reverse in another work from the same period, Haymaking in Brittany 1889.3 Simplified peasant figures are omnipresent in the work of the Pont-Aven artists, and Gauguin may have taken his inspiration from Bernard’s painting, The harvest 1888, which he briefly owned.
Lucina Ward