Paul Sérusier

Fletcher Jones, Los Angeles (and sold by the estate: Christie’s, London, December 2, 1975, lot 34)
Private Collection, Europe (acquired at the above sale and sold: Christie's, November 6, 2013, lot 396)
Acquired at the above sale by the present owner

Marcel Guicheteau, Paul Sérusier, vol. II, Pontoise, 1989, no. 10, illustrated p. 84
Comité Paul Sérusier, Catalogue raisonné de l'oeuvre, http://comite-serusier.com, no. P-1889.3.Fig (accessed September 20, 2016)

The canvas is unlined. There is some minor paint craquelure to the field of wheat to the right of the female figure. Some minor paint thinning to the lower left corner. When examined under UV light, there is evidence of possible retouching to the wheat field within the scythe. The paint surface is clean. The painting is in very good condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Completed during an important moment in the career of Paul Sérusier, Jeune bretonne à la faucille is the result of the significant stylistic shift that took place in the late 1880s and early 1890s when the artist’s aesthetic became intimately and intrinsically tied to that of Paul Gauguin. Recognized today as a leader of French modernism for his bold experimentations with color, Gauguin first became known to Sérusier in 1888. The two artists would work closely together that year and throughout the summer and fall of 1889 along the coast of Brittany.

Isolated on the extreme western tip of the European continent, the small Breton towns of Pont-Aven and Le Pouldu were virtually untouched by the effects of the rampant industrialization that took hold in many French cities at the beginning of the nineteenth century. Unique for the distinctive cultures and traditions of the local people, their timeless way of life and the raw nature of the landscape, these small towns offered a dramatic contrast to the French capital and were highly romanticized upon their rediscovery. The rich visual material provided by the unspoiled scenery and daily activities of the local peasants would come to preoccupy Sérusier, Gauguin and the other painters known collectively as the Pont-Aven School. Captivated by the simplicity and rustic beauty of this region, Sérusier’s depictions of the local population remain some of his most engaging works.

Painted the year following Sérusier’s initial involvement with Gauguin, Jeune bretonne à la faucille combines the striking palette and bright colorization that are part of a bold artistic vision derived from the influence of Gauguin, with a modern compositional structure that owes much to Japanese printmaking, particularly the work of Utagawa Hiroshige. The decorative treatment of the landscape and the flattening of perspectival space are visible in the present work, where Sérusier has matched a vertiginous view typical of his Breton landscape paintings with a plunging perspective derived from Japanese prints. Sérusier depicts the figure in her traditional dress to the foreground, allowing him to capture the rich color and atmosphere of her environment throughout the background. This dynamic landscape captures the essential character of the rugged landscape setting of Le Pouldu and its inhabitants on the edge of the sea.