The British government placed an export bar on ‘Ferme Normande, Summer’ (Hattenville) 1882 by Paul Cézanne to allow time for a British gallery or institution to acquire the painting. The private masterpiece had been on loan to the Courtauld Gallery in London since 1980.
Valued at £10million, the work was once part of the UK’s most important collection of Impressionist and Post-Impressionist paintings. The painting is in danger of leaving the country unless a British buyer shows up to save the work for the nation.
This wonderful work of Cezanne marks a critical moment in his career – Lord Parkinson
Samuel Courtauld acquired it in 1937. It was once part of the UK’s most important collection of Impressionist and Post-Impressionist art, the Samuel Courtauld Collection, which played a vital role in the reception of modern art internationally in the UK.
Norman Farm, Summer (Hattenville) is one of four depictions of Norman sites particularly important to Cézanne because of its acquisition by his first great patron Victor Chocquet. It is a small, simple and sublime landscape that is an early example of the artist’s so-called “constructed brushstroke”.
Arts Minister Lord Parkinson of Whitley Bay said: Paul Cézanne was one of the most important post-Impressionist painters and influenced Matisse and Picasso. This breathtaking work marks a critical moment in his career as his style and brushstrokes evolve in a new direction. I hope a UK buyer will come forward so everyone can enjoy it for years to come.
The Minister’s decision follows the advice of the Committee for the Review of the Export of Works of Art and Property of Cultural Interest. The committee agreed that it is a fascinating painting with an interesting historical connection to the collection of Samuel Courtauld. The painting is also significant in showing a transitional moment in Cézanne’s career, using brushstrokes and changing light that show the artist’s developing style.
Committee member Christopher Baker said: “The status of Paul Cézanne (1839-1906) as a bridge between the traditions of 19th century painting and modernism is unparalleled. In his charming “Farmhouse in Normandy, Summer (Hattenville)”, the artist has used intense, free brushstrokes to evoke dappled light, shadows and the myriad green hues of trees and a meadow, anticipating the later critical developments of his artistic evolution when the abstract structures underlying nature gradually came to the fore. The painting is also important in the context of the artist’s career, as the farmhouse depicted was acquired the year Cézanne painted it by Victor Chocquet (1821-1891), his first great patron and great champion of art. impressionism.
“Beyond these themes, it is part of the significant history of British taste for international art in the 20th century. Cézanne’s Landscape was purchased in 1937 by Samuel Courtauld (1876-1947) as the last of a remarkable group of twelve paintings acquired by the artist Courtauld. He was instrumental in establishing enthusiasm for Impressionist and Post-Impressionist painting in Britain by collecting and generously funding major images obtained for the National Gallery in the 1920s.
“Because of its beauty, its importance in the artist’s career and its role in the wider appreciation of these artistic achievements, it would be a profound misfortune if this alluring work could not be preserved in this country. “
The committee made its recommendation because the painting met Waverley’s three criteria: to be closely tied to our history and national life; of exceptional aesthetic importance; and of exceptional importance for the study of the development of Cézanne’s artistic style, as well as the Impressionist collections in the UK.
The decision on the request for authorization to export the paintings will be deferred for a period ending on Sunday July 31 inclusive. At the end of the first deferral period, owners will have a considerable 15 working days to consider any offers to buy the painting at the recommended price of £10million. The second deferral period will begin following an option agreement and will last for six months.
Offers from public bodies at a price lower than the recommended price under private sale agreements, if any, may also be examined by the Minister. Such purchases often provide a substantial financial benefit to a public institution wishing to acquire the item.
Chardin Still Life Export Blocked By The Louvre
A still life by 18th-century French artist Jean-Baptiste-Siméon Chardin which recently went up for auction on March 23 at Artcurial Paris, was refused an export license and will now be offered at the Louvre after have expressed an interest in acquiring the work of art for their collection.
We are mobilized to bring it into the national collections – Laurence des Cars
The book, titled The basket of wild strawberriessold for the staggering sum of 24.4 million euros (26.8 million dollars), premium included.
Louvre director Laurence des Cars said she asked for Chardin’s painting, Basket of wild strawberriesbe classified by the state as a “national treasure”, a distinction that would prevent its export out of the country.
A preemption would stop the sale of the painting for up to two and a half years, giving the museum time to raise funds to purchase the painting.
Jean-Siméon Chardin was born in 1699 in Paris, the son of a cabinetmaker. He spent his whole life in Paris. His first wife died in the fifth year of their marriage. His two daughters died young, one at age three and one at one. His son, Jean-Pierre, also a painter, was once kidnapped by English pirates off the coast of Genoa and drowned in a canal of his own accord in Venice in 1772, at the age of 41. That same year Jean-Siméon Chardin had kidney stones.
“Chardin is the irrefutable witness who makes other painters look like liars.”
In the hierarchy of genres, widely accepted in the 18th century, history painting comes first, followed by portraiture, genre painting, landscape painting, animal painting and still life. More than anything else, Chardin painted still lifes, often very slowly and often on a very small scale. He paints wicker baskets, sinkers, breadcrumbs, pewter dishes, grapes, a silver goblet, water glasses, a pestle and mortar, nuts, pewter jugs, pitchers earthenware, flasks, dead partridges, dead hares, dead salmon, dead rays, apples, Seville oranges, dead mallards, onions, leeks, turnips, straw, chestnuts , more knives, teapots, apricots, olives, wild strawberries, white carnations, coffee pots, a copper cistern, stone cornices and white tablecloths.
In 1728, Chardin was admitted to the Royal Academy of Painting and Sculpture. In 1742 he was very ill and neither finished nor exhibited paintings. In 1757, he moved to the Louvre, where he would spend the rest of his life. In 1770, he became the first painter to the king and the director of the Academy. He died on December 6, 1779, at the age of 80. In his estate he owned approximately 5,638 pounds of furniture.
Marcel Proust wrote in 1895: “If you had not already experienced unconsciously the pleasure of looking at a humble scene or a still life, you would not have felt it in your heart when Chardin, in his imperative and brilliant language, evoked it’s rising. Your consciousness was too inert to descend to its depth. Your awareness had to wait for Chardin to come on the scene to raise it to its level of pleasure. Then you recognized it and, for the first time, you appreciated it. If, looking at Chardin, you can say to yourself: “It’s intimate, it’s comfortable, it’s living like a kitchen”, then, walking through a kitchen, you will say to yourself: “It’s special, it’s great, it’s as beautiful as a Chardin.’ … In the rooms where one sees only the expression of the banality of others, the reflection of his boredom, Chardin enters like light, giving each object its color, evoking the eternal night that enveloped them all. essence of life, motionless or animated, with the sense of its form, so striking to the eye, so obscure to the mind. … ordinary pottery is as beautiful as a precious stone. The painter proclaimed the divine equality of all things before the mind that contemplates them, the light that embellishes them.
Malraux wrote in 1951: “Chardin is not a lesser master of the 18th century more delicate than his rivals; like Corot, he is a subtly imperious simplifyer. His quiet talent demolished the Baroque still life of Holland and turned his contemporaries into decorators; in France, nothing can rival his work, from the death of Watteau to the Revolution.