Eugene Boudin

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France ( 1824 - 1898 ) - Artworks Wikipedia® - Eugene Boudin

BOUDIN Eugene Venise. L'entrée Du Grand Canal, La Salute Et La Douane

Auction House:
Christie's / May 28, 2013
Estimate:€600,000.00 - €900,000.00
Price:€817,500.00

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Variants on Artist's name :

Boudin Eugène

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Bartolomeo Manfredi, Béla Kontuly, Paolo Veronese, Francesco Bartolozzi, Antonio Fontanesi, Pier Francesco Mola, Camille Jean-Bapt. Corot, Peter Paul Rubens, Edgar Degas, Valentin Lefebvre, Roland Bierge

Artworks in Arcadja

1111

Some works of Eugene Boudin

Extracted between 1,111 works in the catalog of Arcadja

Eugene Boudin - Le Port De Trouville À Marée Basse

Original

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Auction: Christie's - Jun 19, 2013- London

Lot number: 313
Other WORKS AT AUCTIONDescription:

Eugène Boudin (1824-1898) Le port de Trouville à marée basse signed 'E. Boudin' (lower right) oil on panel 16¼ x 12¾ in. (41.3 x 32.5 cm.) Walter Klinkhoff Gallery, Montreal. Acquired from the above by the grandfather of the present owner in the 1960s. Manuel Schmit has confirmed the authenticity of this work.

Eugene Boudin - Scène De Plage

Original 1864

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Auction: Christie's - Jun 18, 2013- London

Lot number: 18
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Eugène Boudin (1824-1898) Scène de plage signed and dated 'E.Boudin-1864' (lower right) oil on canvas 17 7/8 x 28¾ in. (45.3 x 73.2 cm.) Painted in 1864 Arthur Tooth & Sons, Ltd., London. Acquavella Gallery, New York. Acquired from the above and thence by descent to the present owner. THE PROPERTY OF A LADY R. Schmit, Eugène Boudin 1824-1898, Catalogue raisonné de l'oeuvre peint, vol. I, Paris, 1973, no. 294, p. 99 (illustrated). New York, Metropolitan Museum of Art, on loan. Scène de plage was painted in 1864, one of the great turning points in Eugène Boudin's career. For it was that year that he truly began to enjoy increasing recognition amongst artist friends, dealers and buyers, and the financial benefits that were concurrent with that. Scène de plage perfectly illustrates the source of Boudin's success at this time: this is a keenly observed beach scene, showing people in fashionable dress near the bathing machines, against a vast backdrop of nature: the sand, the strip of water, and the canopy of the acutely-rendered sky. Looking at Scène de plage, the viewer can sympathise with Corot's declaration: 'Boudin, you are the king of skies!' (Corot, quoted in J. Selz, Eugène Boudin, Naefels, 1982, p. 52). At this time, Boudin was increasingly aware of the golden thread that others perceived in his delicate, elegant beach scenes. In addition to reaching new pinnacles in his painting, he was also becoming more aware of the workings of the art market, and was dedicating more time to the French capital, returning to the Norman coast that was his home mainly for artistic campaigns. During his time spent in Normandy in 1864, he was happy to be reunited with two friends: Johan Barthold Jongkind and Claude Monet. Each of these artists had common grounds in their concepts of what to depict, and how. Looking at Scène de plage, this is somewhat in evidence: the picture bears many of the hallmarks of what would later be called Impressionism. In Scène de plage, Boudin has immortalised a spontaneous, fleeting moment on the seafront. Indeed, there is a vivid, almost visceral sense of the wind blowing and people moving. It is akin to a snapshot, an ephemeral instant captured for posterity. The informality of the scene is heightened by the presence of the bathing machines, with the donkey there to pull them. These were mobile constructions designed to protect the modesty of bathers during those more prudent times: the entire hut would be moved to the water, allowing people to change their clothes and enter the water without exposure to the wider public. While the presence of these huts, then, implies a certain behind-the-scenes glimpse of life on the beach, they also serve as important punctuation marks in the composition. Their rigid, angular sides, reflecting the light, add to the rhythm of the picture, adding a sense of balance akin to the later still life paintings of Giorgio Morandi. A similar effect is achieved in another picture from the same year, L'approche de l'orage, now in the Art Institute of Chicago.

Eugene Boudin - Berger

Original -

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Auction: Artcurial | Briest - Poulain - F. Tajan - Jun 4, 2013- Paris

Lot number: 60
Other WORKS AT AUCTIONDescription:

Eugène BOUDIN (Honfleur, 1824 - Deauville,1898) BERGER Aquarelle et crayon sur papier Signé du monogramme en bas à droite "E.B." et cachet en bas à gauche "J.C.J." (Lugt L 1430a), annoté en haut h: 6,50 w: 12 cm Provenance : Ancienne collection Jean-Camille Jammes, Paris Collection particulière, Paris Commentaire : "BERGER"; WATERCOLOUR AND PENCIL ON PAPER; SIGNED WITH MONOGRAM LOWER RIGHT, STAMPED LOWER LEFT, ANNOTATIONS TO THE UPPER PART Estimation 800 - 1 000 €

Eugene Boudin - Venise. L'entrée Du Grand Canal, La Salute Et La Douane

Original 1895

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Auction: Christie's - May 28, 2013- Paris

Lot number: 26
Other WORKS AT AUCTIONDescription:

Lot Description Eugène Boudin (1824-1898) Venise. L'entrée du Grand Canal, la Salute et la Douane signé, daté et situé 'E. Boudin Venise. 95. 15 juin' (en bas à gauche) huile sur toile 50.3 x 74.4 cm. (19 7/8 x 29¼ in.) Peint à Venise le 15 juin 1895 Provenance Collection Gérard, Paris. Vente, Me Chevalier, Paris, 5 mai 1902, lot 9. Acquis au cours de cette vente par la famille du propriétaire actuel. Literature G. Jean-Aubry, Eugène Boudin d'après les lettres et les documents inédits, Neuchâtel, 1968, p. 241, no. 132 (illustré; erronément daté '1893'). R. Schmit, Eugène Boudin, Paris, 1973, vol. III, p. 315, no. 3440 (illustré). Exhibited Paris, Ecole des Beaux-Arts, Exposition des oeuvres d'Eugène Boudin, janvier 1899, no. 50. Post-Lot Text 'Venise. L'entrée du grand canal, la Salute et la Douane'; signed, dated and located lower left; oil on canvas; painted in Venice on 15 June 1895. View Lot Notes > En 1892, à l'âge de 67 ans, Eugène Boudin se rend à Venise pour la première fois. Alors couronné de succès, Pierre Puvis de Chavannes vient de lui remettre la Légion d'Honneur, le peintre vient à la recherche de nouveaux motifs en Italie. Boudin avait admiré les peintres vénitiens au Louvre et plus particulièrement Guardi dont il s'était plu à copier les oeuvres à la fin des années 1860. Il dira des oeuvres du célèbre peintre védutiste: "habileté prodigieuse des Guardi. Légèreté de leur exécution. Esprit de la touche jusque dans les moindres détails" (l'artiste cité in. Boudin, aquarelles et pastels, XXXVe Exposition du cabinet des dessins du musée du Louvre, paris, 1965, p. 78). La Sérénissime exerce une véritable fascination sur Boudin et lui permet d'approfondir ses recherches débutées dans le Midi de la France sur le traitement de l'intensité lumineuse. Ainsi, le peintre combine sa vision personnelle de la ville au rendu des effets atmosphériques chers à son coeur. Inspiré par cette ville, l'artiste y retourne au cours de l'été 1894 puis durant l'été 1895. Dans une lettre à Paul Durand-Ruel datée du 20 juin 1895, quelques jours après l'exécution du présent tableau, Boudin écrit: "je suis pris par la peinture des vues de Venise, une ville superbe, nul besoin de vous le dire, mais j'ai quelque répulsion à l'encontre des peintres de cette contrée, qui l'ont, dans une certaine mesure, défigurée en la montrant comme une région éclairée par le plus chaud des soleils...Venise, néanmoins, comme tous les pays lumineux est d'un coloris gris et l'atmosphère en est douce et brumeuse...et le ciel s'y pare de nuages, tout comme un ciel de nos contrées normande ou hollandaise" (cité in J. Selz, Eugène Boudin, Naefels, 1982, p. 85). La plupart des vues de Venise qu'il réalise à cette période sont panoramiques, intégrant monuments ou vues célèbres de la ville et de la lagune. Pour le présent tableau, l'artiste à placé son chevalet sur la rive nord de la Giudecca, une île située au sud de la ville, de l'autre côté du canal. De ce point de vue, on peut admirer la Basilique Santa Maria della Salute, dont les plans ont été conçus par l'architecte baroque Baldasare Longhena (1598-1682) ainsi que la Douane, décrite au centre de la composition. A l'arrière-plan, les bateaux sont au mouillage, au premier, les gondoles sillonnent la lagune, apportant du dynamisme à la composition. Dans Venise. L'entrée du Grand Canal, la Salute et la Douane, Boudin ponctue la scène par des touches de couleur qui suggèrent les personnages et les variations de surface des façades alignées au fil de l'eau. Ici, comme pour sa série de vues de Venise, ce n'est pas l'éclat de la lumière et du ciel qui l'enchante, mais la subtilité de l'atmosphère constamment changeante et le miroitement irisé de l'eau. Le peintre, particulièrement attaché à ses toiles représentant Venise, ne voudra pas s'en défaire à son retour à Paris. In 1892, at the age of sixty-seven, Boudin traveled to Venice for the first time. Recently awarded the prestigious Légion d'Honneur by Pierre Puvis de Chavannes, his Venetian trip had for purpose the search for new motifs. Boudin was a great admirer of the Venetian artists he saw in the Louvre, particularly Guardi whose work he enjoyed copying in the late 1860s. Of the celebrated vedutista's works Boudin would comment: 'the prodigious capability of Guardi. The lightness of his execution. A gestural quality right down to the finest detail. (The artist quoted in Boudin, aquarelles et pastels, XXXVe Exposition du cabinet des dessins du musée du Louvre, Paris, 1965, p. 78). As a city, Venice exerted a profound fascination for Boudin, and his visit there allowed him to continue the research he had begun in the French Midi regarding the portrayal of the intensity of light. Boudin's images of Venice are uniquely personal visions of the city which illustrate the rendition of atmospheric effects which lay at the heart of his art. Inspired by the city, Boudin returned to Venice in the summer of 1894 and again in the summer of 1895. In a letter to Paul Durand-Ruel dated 20 June 1895, only a few days after the present painting was executed, Boudin writes: 'I am busy painting views of Venice, a superb town as I have no need to tell you, but I am somewhat dismayed by the district's regular painters who have, to some extent, disfigured it by making it appear as a region lit up by the hottest of suns...Venice however, like all luminous nations, is grey in color, the atmosphere is soft and misty and the sky is decked with clouds just like those over Normandy or Holland' (quoted in J. Selz, Eugene Boudin, Naefels, 1982, p. 85). Most of the views of Venice which he executed at this time are panoramic, incorporating the familiar landmarks of the city and its lagoon. In the present view, the artist has placed his easel on the northern bank of the Giudecca, an island south of the city across the Giudecca Canal. From there, one can see Santa Maria della Salute, designed by the Baroque architect Baldasare Longhena (1598-1682) and the Dogana, pictured in the center of the composition. In the background boats shelter at anchor, wheras those in the foreground crisscross the lagoon, thereby bringing dynamism to Boudin's composition. In Venise. L'entrée du Grand Canal, la Salute et la Douane, the artist punctuates the scene with touches of color to suggest the gondolas' passengers and the varied materials of the building facades lining the waterway. Here, as for his other Venice views, it is not the splash of the sun which enlivens the view, but rather the subtlety of the constantly changing atmosphere and the flickering iridescence of the water's surface. The artist, particularly fond of his views of Venice, continued to work on them following his return to Paris.

Eugene Boudin - Trouville, La Jetée, Marée Basse

Original 1885

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Auction: Christie's - May 9, 2013- New York

Lot number: 215
Other WORKS AT AUCTIONDescription:

Lot Description Eugene Boudin (1824-1898) Trouville, la jetée, marée basse signed 'E. Boudin' (lower left) oil on panel 10 5/8 x 8 3/8 in. (27 x 21.2 cm.) Painted circa 1880-1885 Provenance Anon. sale, Hôtel Drouot, Paris, 15 March 1905, lot 7. Anon. sale, Hôtel Drouot, Paris, 10 February 1932, lot 79. Anon. sale, Galerie Charpentier, Paris, 8 December 1953, lot 2. Kunsthandel E.J. van Wisselingh & Co., Amsterdam. Acquired from the above by the late owner, December 1962. Pre-Lot Text PROPERTY FROM A DISTINGUISHED CANADIAN COLLECTOR Literature R. Schmit, Eugène Boudin, Paris, 1973, vol. II, p. 52. no. 1389 (illustrated).