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拍品專文
"Je serais toujours le peintre des plages," déclarait Eugène Boudin l'année suivant l'exécution de L'embarcadère à Trouville. Réalisée au cours de sa période d'activité picturale la plus féconde, cette oeuvre s'inscrit dans le thème de prédilection du peintre de la Normandie. Boudin, qui s'était installé à Trouville après avoir habité Honfleur, livre une vision des activités balnéaires sur la côte normande sous le Second Empire. Cette époque correspond à la plénitude d'une mode lancée dans les milieux de la bonne société dès les années 1830. Outre les traditionnels bains de mer, elle se composait de promenades et de jeux sur les plages. Dans L'embarcadère à Trouville, l'artiste montre les élégantes, accompagnant leurs époux, sur la promenade en bord de mer. La scène est baignée dans cette clarté typique de la région. Le vent, s'infiltrant en bourrasques dans les robes chamarrées des femmes, gonfle leurs tissus chatoyants. Tout semble respirer l'air marin d'une belle journée de printemps, loin des agitations de la ville et des mondanités auxquelles ces populations élégantes sont les plus souvent associées. Cependant, la peinture de Boudin est loin d'être simplement anecdotique. Résolument moderne, elle s'affirme d'une part comme un regard réaliste sur la société de son temps. L'artiste capte avec sensibilité le quotidien ostentatoire des aristocrates et bourgeois en villégiature sur la côte normande. D'autre part, Boudin prouve sa modernité en cherchant avant tout à exprimer une ambiance, plutôt qu'à faire oeuvre de narration. La restitution de l'air s'engouffrant dans les vastes robes au tombé empesé préfigure les travaux des impressionnistes, et notamment du jeune Claude Monet que Boudin incita à pratiquer la peinture de plein-air. Le traitement atmosphérique des nuages, ici, est exemplaire du rendu des ciels recherchés par Eugène Boudin, en s'inscrivant aussi dans la lignée des plus beaux paysagistes anglais tels que William Turner et Richard Bonington.
"I will always be a painter of beaches," declared Eugène Boudin the year after he painted L'embarcadère à Trouville. Produced during his most prolific period of painting, this canvas represents one of the artist's favourite themes, the Normandy coastline. Boudin, who moved to Trouville from Honfleur, provides a vision of seaside activities on the Normandy coast during the Second Empire. This period corresponds to the highpoint in a fashion which had begun in polite society in the 1830s. As well as traditional bathing in the sea, it included walks and games on the beaches. In L'embarcadère à Trouville, the artist shows elegant ladies, accompanied by their husbands, on the seaside promenade. The scene is bathed in light typical of the region. Gusts of wind blow the fabric of the women's brightly-coloured dresses, swelling the shimmering material. They all seem to be taking the sea air of a fine spring day, far from the hustle and bustle of the city and the society life with which these elegant people are most often associated. However, Boudin's painting is far from being simply anecdotal. Decidedly modern, it declares itself, firstly, to be a realistic view of the society of its time. The artist sensitively captures the ostentatious everyday lives of the aristocrats and bourgeoisie holidaying on the Normandy coast. Secondly, Boudin demonstrates his modernity by seeking above all to express an atmosphere, rather than create a narrative work. The representation of the air billowing around the vast starched dresses prefigures the work of the Impressionists, particularly the young Claude Monet, who Boudin encouraged to paint en plein air. The atmospheric treatment of the clouds here is a very good example of the rendering of Eugène Boudins much-admired skies, while also falling into the tradition of the finest English landscape painters such as William Turner or Richard Bonington.
"I will always be a painter of beaches," declared Eugène Boudin the year after he painted L'embarcadère à Trouville. Produced during his most prolific period of painting, this canvas represents one of the artist's favourite themes, the Normandy coastline. Boudin, who moved to Trouville from Honfleur, provides a vision of seaside activities on the Normandy coast during the Second Empire. This period corresponds to the highpoint in a fashion which had begun in polite society in the 1830s. As well as traditional bathing in the sea, it included walks and games on the beaches. In L'embarcadère à Trouville, the artist shows elegant ladies, accompanied by their husbands, on the seaside promenade. The scene is bathed in light typical of the region. Gusts of wind blow the fabric of the women's brightly-coloured dresses, swelling the shimmering material. They all seem to be taking the sea air of a fine spring day, far from the hustle and bustle of the city and the society life with which these elegant people are most often associated. However, Boudin's painting is far from being simply anecdotal. Decidedly modern, it declares itself, firstly, to be a realistic view of the society of its time. The artist sensitively captures the ostentatious everyday lives of the aristocrats and bourgeoisie holidaying on the Normandy coast. Secondly, Boudin demonstrates his modernity by seeking above all to express an atmosphere, rather than create a narrative work. The representation of the air billowing around the vast starched dresses prefigures the work of the Impressionists, particularly the young Claude Monet, who Boudin encouraged to paint en plein air. The atmospheric treatment of the clouds here is a very good example of the rendering of Eugène Boudins much-admired skies, while also falling into the tradition of the finest English landscape painters such as William Turner or Richard Bonington.