Provenance
(Ambroise Vollard [1866-1939], Paris), by 1905; Madame de Galéa.[1] (Sam Salz, Inc., New York); sold 9 June 1954 to Ailsa Mellon Bruce [1901-1969], New York;[2] bequest 1970 to NGA.
[1]According to a letter from Charles Durand-Ruel, dated 20 December 1977, in NGA curatorial files, Madame de Galéa was Vollard's long time mistress and her son was heir to his collection. On the movement of the Vollard collection during the war years, see Lynn Nicholas, _The Rape of Europa_, 1995, pp. 92-93 and 425. [2]Lent by Mrs. Bruce to Mr. Lauder Greenway, for an extended period beginning in 1956. Mr. Greenway lent the painting to at least two exhibitions during that year.
Accession Number
1970.17.46
Medium
oil on canvas
Dimensions
overall: 54 x 64.8 cm (21 1/4 x 25 1/2 in.) | framed: 78.9 x 90.5 x 10.2 cm (31 1/16 x 35 5/8 x 4 in.)
Classification
Painting
Credit Line
Ailsa Mellon Bruce Collection
Tags
Painting Impressionist & Modern (1851–1900) Oil Painting Canvas French
Background & Context
Background Story
Henri Moret (1856-1913) was a French painter who worked in Brittany and is associated with the Pont-Aven School, the group of painters around Paul Gauguin who developed the Synthetist manner characterized by bold outlines and flat areas of color. The Island of Raguenez, Brittany from 1890-95 depicts the Brittany coast with the bold color and simplified forms that Moret developed under Gauguin's influence. The 1890-95 date places this in Moret's most productive period, when he was producing the Breton landscapes and seascapes that are his most accomplished works, combining the Synthetist influence of Pont-Aven with his own more naturalistic tendency toward atmospheric effect.
Cultural Impact
The Island of Raguenez is important in the history of the Pont-Aven School because it demonstrates how Moret adapted the Synthetist manner of Pont-Aven to his own more naturalistic tendency toward atmospheric effect. Moret's Breton seascapes combine Gauguin's bold outlines and simplified forms with a more naturalistic treatment of light and atmosphere, creating a type of Pont-Aven painting that is both Synthetist and atmospheric—a combination that distinguishes Moret from the more radical simplification of Gauguin and the Pont-Aven group.
Why It Matters
The Island of Raguenez is Moret's Breton Synthetism with atmospheric effect: the Brittany coast rendered with the bold outlines and simplified forms of Pont-Aven combined with a naturalistic treatment of light and atmosphere. The 1890-95 painting shows the Pont-Aven School's influence adapted to Moret's own more atmospheric manner.