VERKAUFT! - Junge bretonische Hausfrau

Lionel Floch - Junge Bretonin in Landestracht vor häuslicher Kulisse
*1895 Quimper/Bretagne - 1972 ebd.

Technik: Aquarell/Zeichnung auf weichem Karton
Maße: Bildausschnitt ca. 44,2 x 62,2cm, Passepartout-Maß 58x77,5cm, Rahmen 60x80cm
Signatur: r.u. "L. Floch" (das "h" vom Karton verdeckt)
Datierung: ./., ca. 1940/50
Zustand: Bild 1a, frische Farben, PP sehr gut, schlichter silberfarbener Rahmen gelockert

Hervorragendes Meisterwerk des internat. geschätzten u. hoch gehandelten französ. Landschaftmalers u. Aquarellisten in stimmig-pointierter Farbgebung. Eine junge bretonische Hausfrau oder Bäuerin in schwarzer Bluse u. weißbläulicher Schürze schaut träumerisch den Betrachter an. Im Hintergrund werden eine Sitzbank und ein Vorhang sichtbar.
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Aus AKL-Lexikon: "Floch, Lionel, frz. Maler, *1895 Quimper/Finistère, †1972 ebd. Ausb. am Lycée La Tour d'Auvergne in Quimper. Dann Schüler von Théophile-Louis Deyrolle in Concarneau/Finistère. 1914 mobilisiert. 1923 Beamter der Registrierbehörde in Pont-Croix. Freundschaft mit Max Jacob und Jean Moulin. Zahlr. Werke im Kunsthandel; Aukt.-Verkäufe in Brest, Douarnenez, Lorient, Paris. – V.a. breton. Hafen- und Fischer-Darst. (z.B. Retour des sardinières à Audierne, Öl; Thoniers à Concarneau, Öl), Portr. in realist. bzw. naturalist. Manier (an Théophile-Louis Deyrolle erinnernd). Auch mehrere Zirkus- bzw. breton. Festszenen. In den 1950er Jahren abstrakte Bilder. WERKE QUIMPER, Musée des Beaux Arts: Un pardon en pays bigouden, Öl, um 1934 (Auftrag des Autowerks Renault für dessen Ausst.-Saal, Quai Duplex); Portr. de marin, Öl. AUSSTELLUNGEN G: Paris: SAfr.; 1924 Salon d'Automne. BIBLIOGRAPHIE Edouard-Joseph II, 1931; Bénézit V, 1999. – Lumières du Cap Sizun (K), Pont-Croix 2003."

Internet: "Floch was a student at the Tour d’Auvergne in his home town of Quimper before he went to Concarneau where he trained as a painter with Théophile Deyrolle. In 1923, he moved to Pont-Croix and became one of the central figures of a school of painting located in the Hôtel des Voyageurs. From the second half of the 19th century, Pont-Croix attracted artists and writers who found a quieter working environment there and cheaper lodgings than Pont-Aven. Henri Matisse was perhaps the best known of the visiting artists. He painted there in 1895 with Henri Huklenbrok and others whose habit it was to desert Paris during the summer months. Désiré Lucas and Emile Simon were also amongst the better known names while Paul de Lassence and Gaston Bouillon were among the central figures.

The town was accessible by rail and offered many of the attractions of Pont-Aven with its quaint buildings and attractive costume. It was an ideal base for Floch to explore the Cap Sizun where he recorded the villagers at work in a manner which owes much to Deyrolle although painted in a broader style. His subject matter was also similar and often shows a crowded market place or a group of sardine fishermen on the baie d'Audierne. Douarnenez was also within easy reach and there he painted many works similar to our harvesters. The gathering of seaweed looks like an idyllic existence but it was hard and treacherous work. The time allowed was limited and usually an entire family unit would join together to cut and stack the seaweed so that it could be loaded before the next tide. The central figure in her yellow apron uses a small barrow to haul the crop above the waterline. She protects herself from the sun by wearing a broad brimmed hat. The group probably consists of three generations of the same family. Their costume is modern although the figure in the background, perhaps the eldest of the group, wears the traditional tall headdress of the Bigoudan. The headland, dotted with white cottages, is typical of the Breton coast and reminiscent of the West of Ireland, where the harvesting of kelp was carried on in the same way. Later in his career, Floch’s work developed into an abstracted form, the first stages of which are detectable here. There is a view of the harbour at Concarneau on the back of the canvas."