École de Pont-Aven

ROCKY COAST IN BRITTANY

Claude-Émile SCHUFFENECKER (1851-1934)

1886

Enlarge picture jpg 137Ko (See the caption hereafter) (modal window)
Emile Schuffenecker (1851-1934) Côte rocheuse en Bretagne, 1886, huile sur toile, 50 x 61 cm © musée des beaux-arts de Quimper

Oil on canvas

98-4-1

Acquired in the public trade in 1998 with the support of the Region of Brittany and the French State.

H. 50 cm - L. 61 cm

Claude-Emile Schuffenecker met Paul Gauguin in 1872 . Their mutual passion for painting brings them together:
In 1886 he also joined his friend Gauguin in Pont-Aven, which he left very quickly for another village nearby, Concarneau. This rocky coast is one of the few works he paints on the motif, oscillating between impressionism and divisionism. It represents the end of the beach of White Sands in Concarneau with the point of Beg-Meil on the horizon.
This contemporary painting of the first synthetist researches also presents the interest of being one of the very rare Breton works of the artist who has subsequently preferred the Norman landscape.
Three years later, in 1889, Schuffenecker was the organizer of the exhibition of the impressionist and synthetist group at the Volpini café, on the sidelines of the World Expo.

 

École de Pont-Aven

ROCKY COAST IN BRITTANY

Claude-Émile SCHUFFENECKER (1851-1934)

1886

Enlarge picture jpg 137Ko (See the caption hereafter) (modal window)
Emile Schuffenecker (1851-1934) Côte rocheuse en Bretagne, 1886, huile sur toile, 50 x 61 cm © musée des beaux-arts de Quimper

Oil on canvas

98-4-1

Acquired in the public trade in 1998 with the support of the Region of Brittany and the French State.

H. 50 cm - L. 61 cm

Claude-Emile Schuffenecker met Paul Gauguin in 1872 . Their mutual passion for painting brings them together:
In 1886 he also joined his friend Gauguin in Pont-Aven, which he left very quickly for another village nearby, Concarneau. This rocky coast is one of the few works he paints on the motif, oscillating between impressionism and divisionism. It represents the end of the beach of White Sands in Concarneau with the point of Beg-Meil on the horizon.
This contemporary painting of the first synthetist researches also presents the interest of being one of the very rare Breton works of the artist who has subsequently preferred the Norman landscape.
Three years later, in 1889, Schuffenecker was the organizer of the exhibition of the impressionist and synthetist group at the Volpini café, on the sidelines of the World Expo.

 

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