Henry Moret (1856-1913)

The painting 'La Guilly, port de pêches' is a beautiful example of the work by Henry Moret, reflecting the influence of both Impressionism and Post-Impressionism.

 

 

Brittany Coast

 

Henry Moret often painted scenes from the Brittany coast. It captures the rugged beauty and the daily life of the coastal community.

The focus on the fishing port and the  activities of the fishermen reflects Moret’s interest in depicting the everyday life and work of the people in this region.

 

 

Blending techniques

 

The painting shows the ability of Moret to blend the techniques of both Impressionism as Post-impressionism, resulting in a vivid and dynamic portrayal of the Brittany coast.

 

Moret uses vibrant colors and light to capture the natural beauty of the port. The play of light on the water and the sky is particularly notable, creating a sense of movement and atmosphere.

 

The brushstrokes are loose and expressive, typical of the Impressionist style. This technique helps to convey the fleeting effects of light and weather.

 

 

Solid scene

 

While maintaining the loose brushwork, Moret also incorporates more defined forms and structures, influenced by Post-Impressionist techniques. This adds a sense of solidity and permanence to the scene.

 

The composition is carefully balanced, with a focus on the natural landscape and the everyday life of the fishing port. The arrangement of boats and buildings guides the viewer’s eye through the painting.

 

 

Provenance

 

• Durand-Ruel Gallery, Paris
• Thense by descent of the previous owner

 

 

Literature

 

To be included in the forthcoming Henry Moret Catalogue raisonné being prepared by Jean-Yves Rolland

 

Henry Moret was born in Cherbourg, 12th December 1856.

Although he and his family were from Normandy it was Brittany that held a life-long fascination for the artist.

 

 

Salon 1880

 

Moret received a traditional academic training with Jean Paul Laurens (1838-1921) at the Academy Julian. He made his debut at the Salon in 1880. However, Moret rejected the academic style for that of his modern contemporaries, the Impressionists, particularly Claude Monet (1840-1926) and Paul Gauguin (1848-1903).

Moret was one of a number of young artists drawn to Pont Aven and Gauguin. Moret worked there and in the coastal villages and islands along the south coast of Brittany, painting in Douelan, Clohar and Belle Ile and on Graix and on the remote island of Ouessant on the western tip of Brittany.

 

Fishermen and farmers

 

Moret sought out the local fisherman and farmers, painting the landscape and rocky coastline of this remote and desolate area. Moving from village to village, Moret would often return to Pont Aven, in 1888 following Gauguin who was there with Claude Emil Schuffenecker (1851-1934) and Émile Bernard (1868-1941).

 

 

Inspired by Gaugin en Monet

 

Although Gauguin was a significant influence and friend it is the influence of Claude Monet that is prevalent in his marines and landscapes. Moret infrequently travelled beyond the confines of Brittany, returning to Normandy and to Paris and visiting Holland.

Moret was widely collected, selling through the foremost Parisian dealer – Durand-Ruel – his works were sought after by collectors throughout Europe and in the United States and Great Britain.

 

 

Museums

 

• Cardiff, Museums and Galleries of Wales
• Southampton City Art Gallery
• Paris, Musée d’Orsay 
• Quimper, Musée des Beaux-Arts
• Reims, Musée des Beaux-Arts
• St. Petersburg, The Hermitage
• Boston, Museum of Fine Arts
• Indianapolis Museum of Art
• Washington DC, National Gallery of Art.