Works inspired by Brittany

The Arrival of the Pardon of Sainte-Anne-de-Fouesnant at Concarneau

Alfred GUILLOU (1844-1926)

1887

Enlarge picture jpg 96Ko (See the caption hereafter) (modal window)
Alfred Guillou (1844-1926) Arrivée du pardon de Sainte-Anne-de-Fouesnant à Concarneau, 1887, huile sur toile, 281,5 x 221 cm, dépôt de l'Etat en 1920 © musée des beaux-arts de Quimper

Oil on canvas

D. 889-9-1

Allocated by the French state in 1920

H. 281,5 cm - L. 221 cm

Alfred Guillou, along with Théophile Deyrolle, are founders of the "school of Concarneau ”, which favours scenes connected with fishing ports.  In this ambitious work, he combines the old sea dogs, the fishing boats and the religious theme of the pardon: the boats have just crossed the bay of Concarneau and the pilgrims are disembarking.  The same face has been used for the women in the foreground, indicating the use of a studio model.

Works inspired by Brittany

The Arrival of the Pardon of Sainte-Anne-de-Fouesnant at Concarneau

Alfred GUILLOU (1844-1926)

1887

Enlarge picture jpg 96Ko (See the caption hereafter) (modal window)
Alfred Guillou (1844-1926) Arrivée du pardon de Sainte-Anne-de-Fouesnant à Concarneau, 1887, huile sur toile, 281,5 x 221 cm, dépôt de l'Etat en 1920 © musée des beaux-arts de Quimper

Oil on canvas

D. 889-9-1

Allocated by the French state in 1920

H. 281,5 cm - L. 221 cm

Alfred Guillou, along with Théophile Deyrolle, are founders of the "school of Concarneau ”, which favours scenes connected with fishing ports.  In this ambitious work, he combines the old sea dogs, the fishing boats and the religious theme of the pardon: the boats have just crossed the bay of Concarneau and the pilgrims are disembarking.  The same face has been used for the women in the foreground, indicating the use of a studio model.

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