Gustave-Achille Guillaumet

Descendants de l'artiste

Paris, Salon de 1866, n°891

F. Jahyer, Deuxième étude sur les Beaux-Arts, Salon de 1866, p.136 ;
E. Durand-Greville, "Gustave Guillaumet" in L'Artiste, 1887, t.1, p.342 ;
A. Renan in Gazette des Beaux-Arts, 1887, t.1, p.406 ;
A. Badin, "Gustave Guillaumet" in L'Art, XLIV, 1888, p.10 ;
L. Bénédite, "La peinture orientaliste et Gustave Guillaumet" in La Nouvelle Revue, 1888, p.338 ;
C. Bigot, "Gustave Guillaumet" in La Revue Bleue, 25 février 1888, p.235 ;
A. Dalligny, "L'exposition Guillaumet" in Journal des Arts, 13 janvier 1888 ;
E. Mouton, "Notice sur la vie et l'oeuvre de Gustave-Achille Guillaumet" in Gustave Guillaumet, Tableaux algériens, Paris, 1888, p.4 et p.24 ;
J. Alazard, Guillaumet et l'Algérie, Alger, 1932, p.2 ;
A.-M. Rochon, Gustave-Achille Guillaumet, écrivain et peintre de l'Algérie, mémoire de maîtrise, Université Sorbonne-Paris IV, 1985, n°28

The canvas has been relined. Under UV light, there are retouches along the upper border. There is a small retouch above the man who stands near the fire on the right background. A large old restoration originally done by the artist is visible on the left part of the background, starting above the hands of the left flute player, and going in the sky above the head of the man in profile. Another smaller restoration, originally done by the artist, is visible on the right, in the mountain and the sky. A small tear has been restored in the background above the man with the red coat on the right, and another long tear has also been restored from the knee of the right flute player to the man lying on the ground with a red coat. A long restored tear is visible in the sky, above the flute player on the left. We can also observe some cracks in the beard of the man sitting on the left, on the coat of the man sitting on the left in the foreground, and in some other places. .
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Gustave-Achille Guillaumet reçoit une formation académique à l’école des Beaux-Arts de Paris, au sein de l’atelier de Picot. Il se passionne très tôt pour l’Algérie, et s’y rend une dizaine de fois au cours de sa vie. Influencé par Gros et Géricault à ses débuts, il s’attache à traiter des sujets épiques et dramatiques, puis il s’inspire progressivement de Delacroix, en réalisant des scènes de la vie quotidienne. Notre tableau traduit cette double influence : à la simplicité de la thématique du bivouac répond la théâtralité des personnages, tant par leur attitude que par le travail très contrasté de la lumière. Coutumier de l’oasis de Bou-Saada, Guillaumet fut un des premiers artistes à vivre parmi les habitants de l’Afrique du Nord.