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Armand Guillaumin

France (Paris 1841 -  Orly 1927 ) Wikipedia® : Armand Guillaumin
GUILLAUMIN Armand Le Hameau À Damiette

Aguttes /Oct 23, 2017
45,000.00 - 60,000.00
Not Sold

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Variants on Artist's name :

Guillaumin Jean-Baptiste Armand

Guillaumin Jean-Baptiste-Armand

 

Artworks in Arcadja
1030

Some works of Armand Guillaumin

Extracted between 1,030 works in the catalog of Arcadja
Armand Guillaumin - La Sédelle

Armand Guillaumin - La Sédelle

Original 1900
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Lot number: 3207
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Description: ARMAND GUILLAUMIN (Paris 1841 - 1927 Orly) La Sédelle. Circa 1900. Oil on canvas. Signed lower right: Guillaumin. 24.5 x 18.5 cm. This work will be included in volume 2 of the catalogue raisonné currently in preparation. Provenance: - Private collection, Paris. - Galerie von Vertes, Zurich. - Private collection, Switzerland. Exhibition: Cologne 1996, Vom Spiel der Farbe. Armand Guillaumin. Ein vergessener Impressionist, Wallraf-Richard-Museum, 23 February - 5 May 1996, cat. no. G73 (with ill.). --------------- ARMAND GUILLAUMIN (Paris 1841 - 1927 Orly) La Sédelle. Um 1900. Öl auf Leinwand. Unten rechts signiert: Guillaumin. 24,5 x 18,5 cm. Das Werk wird in den 2. Band des sich in Vorbereitung befindenden Catalogue raisonné aufgenommen. Provenienz: - Privatsammlung Paris. - Salis und Vertes, Zürich. - Privatsammlung Genf. Ausstellung: Köln 1996, Vom Spiel der Farbe. Armand Guillaumin. Ein vergessener Impressionist, Wallraf-Richard-Museum, 23. Februar - 5. Mai 1996, Kat. Nr. G73 (mit Abb.).
Armand Guillaumin - Le Moulin Brigand Et Les Ru

Armand Guillaumin - Le Moulin Brigand Et Les Ru

Original
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Lot number: 305
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Jean-Baptiste Armand Guillaumin, Le Moulin Brigand et les ru Unsigned. Titled and dated "Paysage à Crozant 1900" in ink by another hand verso on the stretcher.With an expert report from the Comité Guillaumin, Paris, Dominique Fabiani, Stéphanie Chardeau-Botteri and Jacques de la Béraudière, Paris, dated 12 July 2017. The painting will be included in the 2nd vol. of the catalogue raisonné by the Comité Guillaumin.After a varied education not just as an artist, Guillaumin became one of the pioneers of a theory of painting championed by Eduard Manet, was introduced by Paul Cézanne to the circle around the writer and collector Émile Zola and frequented the studio of Frédéric Bazille - a salon and well-known meeting place. Together with Camille Pissarro and Cézanne, Guillaumin painted landscapes including that near Pontoise, and he grew into a remarkable figure among the Impressionists seeking to develop a feeling for the genuine form of nature. From then on his style of painting and his brushstroke were based on Cézanne's technique, which enabled him to succeed in investing his landscapes with a subtle structure in their composition and tonality. Guillaumin also remains true to his system in this turn-of-the-century painting filled with autumnal light. Stylistically, he turns slightly towards neo-impressionism, sometimes employing its palette unbound by nature. In doing so, Guillaumin does not unconditionally adhere to the pedantic theory of Paul Signac, instead, he certainly adapts his brushstroke to the features of the landscape, as can be observed wonderfully in the case of "Paysage à Crozant". It is these subtle nuances in the colours placed side by side which the artist uses to describe the trees in the foreground, with their autumnal leaves, and to trace Creuse river, which cuts deeply into the landscape. In a wide bend it washes around the massive rock crowned by the castle ruins of Crozant, a richly historical \“point de vue\”. The "Paysage à Crozant" is a classical landscape by an already mature painter; however, with his palette he is nonetheless able to keep his eyes open to the direction being pursued by the still very young Fauves.
Armand Guillaumin - Voilier A Agay

Armand Guillaumin - Voilier A Agay

Original c.1905
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Lot number: 6
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Sale 159 Lot 6 **Armand Guillaumin 1841-1927 (French) Voilier a Agay, c.1905 oil on canvas h:60 w:73 cm. signed lower right Provenance: Private collection, France. Other Notes: Accompanied by a certificate of authenticity signed by Mrs Fabiani and Mr Cazeau, dated October 5, 1999. This work will be included in the 2nd volume of the catalog raisonne of the artist. Location: Europe. For estimated delivery time please contact us.
Armand Guillaumin - Le Hameau À Damiette

Armand Guillaumin - Le Hameau À Damiette

Original 1888
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Lot number: 13
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Armand GUILLAUMIN (1841-1927) Le hameau à Damiette, vers 1888 Huile sur toile, signée en bas à gauche 54 x 65 cm - 21 1/3 x 25 1/2 in. Oil on canvas, signed lower left PROVENANCE Collection privée, France BIBLIOGRAPHIE G. Serret, D. Fabiani; Armand Guillaumin 1841-1927: Catalogue raisonné de l'oeuvre peint, Paris, Editions Mayer, 1971, ref. n°169 L'oeuvre que nous présentons aujourd'hui s'inscrit dans cette période stylistique où la palette est plus nuancée et sensible. Le Hameau à Damiette représente un village rustique, témoignage de la vie à la campagne préservée du modernisme. L'artiste reprend les caractéristiques picturales qui lui sont chères, tels que le chemin tournant et s'échappant vers un horizon inconnu, le ciel serré, l'absence de mouvement, l'utilisation d'angles de vue inhabituels. Une atmosphère de plénitude se dégage, renforcée par le choix des teintes. Le temps semble s'être arrêté. Le spectateur, devenu promeneur, en empruntant ce chemin, peut donner libre cours à son imagination. Quelques tâches vives se détachent, dont notamment la cheminée dont le rouge lumineux semble préfigurer l'évolution du style de l'artiste. En effet, au contact des peintres de l'Ecole de Crozant, dès début des années 1890, la peinture de Guillaumin va évoluer de manière significative. Il se déplace alors fréquemment à Agay au pied de l'Estérel et sa palette devient plus subjective, avec l'emploi de couleurs expressives qui anticipent le fauvisme. The artwork we are presenting today belongs to this period in which he employed a particularly nuanced, delicate palette. Le Hameau à Damiette (The Hamlet in Damiette) portrays a rustic village, showing life in the countryside spared from modernism. Guillaumin again employs pictorial features that are dear to him, such as the winding path that leads to an uncertain horizon, a dense sky, no movement, and using uncommon standpoints. An atmosphere of calm fulfilment is generated and reinforced by his choice of colors. Time seems to stand still. The viewer, becoming a walker by taking this path, can give free rein to their imagination. A few bright spots stand out, such as one chimney stack in particular, whose bright red color appears to announce his stylistic developments. Indeed, upon contact with the painters of the École de Crozant in the early 1890s, Guillaumin's painting underwent significant developments. He frequently travelled to Agay at the bottom of the Estérel mountain range and used expressive colors, which foreshadowed Fauvism. ARMAND GUILLAUMIN Né en 1841, Armand Guillaumin va jouer un rôle important dans le mouvement impressionniste dont il est l'un des premiers et des plus fidèles participants. Sa rencontre avec Pissarro et Cézanne, en 1866 à l'Académie Suisse où il étudie le dessin, est déterminante. Avec eux, il développe son goût du paysage, d'abord sur les bords de la Seine, fasciné par le jeu de la lumière sur l'eau, et ensuite dans les différentes régions où il séjourne et voyage à la recherche de nouveaux sujets (la Creuse, l'Auvergne, l'Estérel). Si Guillaumin privilégie, comme ses pairs, une recherche du «vrai», de la vraie lumière du soleil, du concret, et s'il accepte implicitement l'existence d'espaces vides, il se distingue dès ses premières oeuvres par l'emploi d'une matière dense et surtout une coloration plus vive. Il expose au Salon des Refusés et aux expositions des peintres impressionnistes entre 1874 et 1886, date à laquelle il présente vingt et un tableaux. La plupart, paysages de Damiette, près d'Orsay, sont accueillis favorablement par la critique qui apprécie son grand talent de coloriste et la richesse de ses thèmes bucoliques. La même année, grâce au marchand Durand-Ruel, certaines de ses oeuvres sont exposées à New York. Born in 1841, Armand Guillaumin came to play an important role in Impressionism, a movement he was one of the first to join and to which he remained true. Meeting Pissarro and Cézanne at the Académie Suisse in 1866 was a decisive encounter. Together with them, he developed his taste for landscape painting, first along the river Seine where he was fascinated by the play of light on water, and then in various regions where he sojourned and travelled in the search of new subjects (in the Creuse department, in Auvergne, and around Estérel). Although Guillaumin, like his peers, was always in search of authenticity, such as the sun's real light and tangible substance while tacitly accepting empty spaces, he immediately distinguished himself by using dense matter and vivid colors. He exhibited at the Salon des Refusés and at the Impressionist exhibitions from 1874 to 1886, the year in which he presented twenty- one paintings. Most of them, landscapes in Damiette near Orsay, were well received by the critics who appreciated his exceptional talent as a colorist and the richness of his bucolic themes. In the same year, thanks to the art dealer Durand-Ruel, some of his works were shown in New York.
Armand Guillaumin - La Seine À Samois

Armand Guillaumin - La Seine À Samois

Original 1898
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Lot number: 3205
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Description: ARMAND GUILLAUMIN (Paris 1841 - 1927 Orly) La Seine à Samois. Circa 1898. Oil on canvas. Signed lower left: Guillaumin. 61 x 50 cm. Provenance: - Durand-Ruel, Paris. - Private collection, Switzerland. Literature: Serret, Georges/Fabiani, Dominique: Armand Guillaumin 1841 - 1927. Catalogue raisonné de l'oeuvre peint, Paris 1971, no. 423 (with ill.). --------------- ARMAND GUILLAUMIN (Paris 1841 - 1927 Orly) La Seine à Samois. Um 1898. Öl auf Leinwand. Unten links signiert: Guillaumin. 61 x 50 cm. Provenienz: - Durand-Ruel, Paris. - Privatsammlung Schweiz. Literatur: Serret, Georges/Fabiani, Dominique: Armand Guillaumin 1841 - 1927. Catalogue raisonné de l'oeuvre peint, Paris 1971, Nr. 423 (mit Abb.).
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