Oil on canvas, signed and dated 1895
Canvas size: 21 x 26in / 54 x 66cm
Frame size: 29 x 34in / 74 x 86cm
Galerie Durand-Ruel, Paris
Sale: William Doyle Galleries, New York, Nov 12, 1987, lot 109
Sotheby’s, New York, May 11, 2000, Lot 175
Private Collection, USA
This painting is accompanied by a photo-certificate of authenticity from Mr Jean-Yves Rolland, and will be included in his forthcoming catalogue raisonné
Moret’s artistic training at the École des Beaux-Arts in Paris began following his military service in 1875. Although he first exhibited at the Paris Salon in 1880, it was during his visits to Pont-Aven from 1888 onwards where he began to explore the less academic thinking of Gauguin in particular, although this waned after Gauguin’s departure in 1891. As Moret’s work developed, his success grew, and in 1895 he began to exhibit work with Paul Durand-Ruel, whose network of galleries around the world had huge success promoting modern painting, particularly Impressionism. Indeed, Moret’s work became markedly more Impressionist after about 1900, with small flecks of paint replacing the broad strokes favoured by the Pont-Aven artists, and an increasing concentration on landscape painting and the effects of light. Moret gave Durand-Ruel approximately 600 paintings, many of which were exhibited in Paris and New York, leading to international recognition.
Over the course of his career, Moret’s painting can be seen as a reflection of the seismic changes happening in European painting at the time, from the classically-orientated work of the early years to his mature more Impressionistic style.
An indication of the popularity of his work during his lifetime and beyond can be gauged by a selection of museums that hold his work; the Musée d’Orsay, Paris; the Musée des Beaux-Arts de Quimper; Southampton City Art Gallery; the National Museums and Galleries of Wales, Cardiff; the Hermitage, St Petersburg; the National Gallery of Art, Washington DC; the Museum of Fine Arts, Boston and Indianapolis Museum of Art.