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L'impressionnisme L’impressionnisme d’après PONT-AVEN Jacqueline Duroc Sous la direction d’Estelle Guille des Buttes Préface par Ellen Wardwell Lee 4 Préface Ellen Wardwell Lee Conservatrice émérite au Musée d’Art d’Indianapolis Marraine du Musée de Pont-Aven 1886 fut une année charnière pour la colonie artistique de Pont-Aven – et pour le mouvement connu sous le nom d’impressionnisme. À Paris, avait lieu la der- nière des huit expositions qui marquèrent les débuts du mouvement, révélant le développement de nouvelles approches picturales. En Bretagne, le Salon de Nantes présentait au public des impressionnistes déclarés et de jeunes artistes émergents. Claude Monet, Pierre Renoir et Paul Gauguin se rendaient tous en Bretagne. Tandis que Monet laissait la force nue des vagues l’attirer à Belle-Île, Renoir préférait la côte nord et Saint-Briac. Le charismatique Paul Gauguin, lui, porta son choix sur le village de Pont-Aven, hospitalier et bon marché. Gauguin venait de montrer dix-neuf tableaux impressionnistes à Paris mais, déçu par l’attention des critiques, il débarquait à Pont-Aven en quête de gloire, pressé de laisser libre cours à sa puissance créatrice. La présente exposi- tion explore la façon dont l’impact de Paul Gauguin, les attraits naturels de la Bretagne et l’appel fondamental de l’esthétique impressionniste, contribuèrent à L’impressionnisme d’après Pont-Aven. À l’arrivée de Gauguin, Pont-Aven hébergeait des artistes de diverses natio- nalités, de divers styles, y compris des peintres académiques traditionnels et naturalistes. Gauguin exerça son regard impressionniste sur des scènes de la vie rurale et put s’enorgueillir de son influence sur quelques-uns des plus jeunes représentants de la colonie. Durant son séjour de 1888, alors qu’il s’échinait à trouver sa voie en peinture, il collaborait avec un jeune homme du nom d’Émile Bernard qui lui apporta le déclic d’un style nouveau. Ils l’appelèrent « synthétisme ». Ils réinterprétèrent le soin que les impressionnistes mettaient à rendre de fugaces éclats de lumière et de nature en images inspirées par la mémoire et l’imagination. Mais, au lieu de taches rapidement posées en teintes brisées, ils choisirent des aplats de couleur et des contours marqués, avec de nouveaux jeux de perspective. Ce changement radical signalait aussi chez Gauguin un sens puissant de l’aventure, une curiosité qui incita bien des artistes dans l’orbite de Pont-Aven à poursuivre leur propre voie. Prospérant dans cette atmosphère d’ouverture, Maxime Maufra, Henry Jules LE RAY Moret, Gustave Loiseau et Ferdinand Loyen du Puigaudeau donnèrent leur Le Peintre Henry Moret devant son chevalet propre version de l’impressionnisme, dans des paysages de Bretagne réalisés (cat. n°47) entre les années 1890 et les années 1920, longtemps après la dernière visite de 5 Gauguin en 1894. Après sa rencontre avec ce dernier, Maufra, peintre dévoué aux marines, fit montre d’un sens délicatement synthétiste dans des composi- tions aux formes simplifiées qui exprimaient davantage l’ambiance d’un pay- sage que son apparence immédiate. Au tournant du siècle, toutefois, il sembla plus à l’aise dans l’exécution, sur le motif, de marines puissantes inspirées de Monet. Parfois, il fut entraîné par sa passion pour le paysage breton vers des esquisses pleines de mouvement tentant avec audace de capter sa perception instantanée des éléments. Un portrait de Moret au travail par Jules Le Ray, daté de 1893 et conservé au Musée de Pont-Aven, révèle l’attachement du peintre normand à Gauguin. Le paysage aperçu sur le chevalet laisse voir des aplats de couleurs vives typiques du synthétisme. Plus tard, son œuvre s’inscrit dans un spectre fascinant, qui va d’une légère inflexion du style de Gauguin jusqu’à de nombreux paysages aux tons vifs, serrés, qui laisse transparaître une posture foncièrement impressionniste. Lorsque Loiseau rejoint pour la première fois Pont-Aven en 1890, il est déjà un impressionniste déclaré ; il entretient, dans ses vues de la cité cornouaillaise et du paysage breton, son goût pour la spontanéité, pour la manière dont se comporte la lumière. L’exposition présente aussi des tableaux crépusculaires, grâce aux vues insolites de Loyen du Puigaudeau, artiste qu’il est malaisé de classer mais qui est le seul à faire une démonstration romantique de vues noc- turnes sur les villages et les paysages de Bretagne. Loin du plein jour de la plu- part des sujets impressionnistes, son domaine est celui de la lune et des éclairages artificiels au gaz ou à l’électricité, alors tout récents. À travers cette exposition, les visiteurs du Musée de Pont-Aven découvrent la beauté unique de la Bretagne, de ses côtes découpées, de ses doux reliefs inté- rieurs. Ils ressentent l’esprit d’expérimentation artistique qui a instillé la moder- nité au cœur des riches traditions bretonnes. ◊ Henry MORET Le Peintre en plein-air (cat. n°46) 6 7 8 Avant-propos Estelle Guille des Buttes Directrice et Conservatrice en chef du Musée de Pont-Aven Il est aujourd’hui établi que « Pont-Aven » rime avec l’école éponyme et le syn- thétisme. En effet, en 1888, Paul Gauguin et Émile Bernard ont provoqué dans cette petite commune du Finistère Sud une révolution artistique en rupture avec l’académisme et l’impressionnisme. Le Musée de Pont-Aven, depuis sa naissance en 1985, a su mettre en valeur ce courant fécond de l’histoire de l’art à travers plusieurs expositions monographiques ou thématiques et grâce aux œuvres entrées successivement en collection permanente. Pourtant, une observation attentive du parcours artistique de Paul Gauguin permet de bien en percevoir les origines dans la veine impressionniste. En effet, celui qui deviendra le maître de Pont-Aven rencontre Camille Pissarro dès 1874. Alors qu’il est déjà collectionneur et artiste autodidacte, il suit les « leçons » de son cher maître et s’engage dans une voie d’initiation marquée par l’impres- sionnisme : travail en plein-air, étude des variations de la lumière, traitement pictural par petites touches sont autant de sujets d’intérêt chers à Gauguin au tournant des années 1870 et 1880. En 2016, à l’ouverture du nouveau Musée de Pont-Aven, le musée d’Orsay a accordé un prêt exceptionnel rappelant le premier séjour de Gauguin dans la cité des peintres, Les Lavandières à Pont-Aven, exécuté en 1886. Sa technique de création est encore celle des impressionnistes. À la suite de cet événement inau- gural, force était de constater qu’il était nécessaire pour notre musée de lancer une réflexion sur la présence de l’impressionnisme et du postimpressionnisme (tel que l’a défini John Rewald) dans l’art exécuté en Bretagne après les séjours successifs de Gauguin entre 1886 et 1894. En 1886, avant de venir à Pont-Aven pour la première fois, Gauguin parti- cipe à la dernière des huit expositions des impressionnistes à Paris. Il montre dix-neuf de ses toiles alors qu’il est déjà en affaire avec le marchand des impres- sionnistes Paul Durand-Ruel. Il est intéressant aussi de noter qu’un peu plus tard, en 1889, est organisée à Paris, au Café des arts de Monsieur Volpini, l’expo- sition du groupe « impressionniste et synthétiste », à laquelle participe non seu- lement Gauguin mais aussi Bernard (sous le pseudonyme de Ludovic Nemo). On y trouve, parmi d’autres, des œuvres de Laval, d’Anquetin et de Louis Roy. Gustave LOISEAU Celles-ci étaient présentées dans des cadres blancs comme ceux des impres- La Rue de Concarneau à Pont-Aven sionnistes, en réaction aux cadres dorés des salons officiels. Dès lors, traiter du (cat n°42) sujet L’impressionnisme d’après Pont-Aven conduit à la fois à interroger ses 9 sources, ses expressions et sa postérité, eu égard à l’éclosion du synthétisme dans un rapport non pas d’opposition, mais de mise en perspective avec la fac- ture impressionniste. Pour certains des peintres de Pont-Aven, l’aventure synthétiste conduirait à une impasse décorative. À travers cette approche, il apparaît que certains d’entre eux oscillent entre impressionnisme et synthétisme, comme l’avait déjà montré, en 1978, une première exposition organisée à l’Hôtel de ville de Pont- Aven. Parmi ces artistes, figurent notamment : Henry Moret, Maxime Maufra, Ferdinand Loyen du Puigaudeau et Gustave Loiseau. L’exposition dévoile ainsi des séries thématiques composées d’œuvres emblématiques de ceux-là, à tra- vers lesquelles le public peut apprécier à quel point la Bretagne fut une grande source d’inspiration, comme le fut la Normandie avec des artistes majeurs du mouvement impressionniste. Il convient d’ailleurs de rappeler que l’un des pré- curseurs du mouvement impressionniste, Eugène Boudin, est lui-même venu travailler dans notre région : la Bretagne lui aurait inspiré près de quatre cents œuvres. De même qu’en 1886, Claude Monet, « le prince des impressionnistes » selon l’australien John-Peter Russell, fait étape à Belle-Île, où il exécute près de trente-neuf tableaux dans un esprit sériel inédit. Henry Moret a fini par s’installer à Doëlan, près de Pont-Aven, Maxime Maufra à Kerhostin, dans la presqu’île de Quiberon, Ferdinand Loyen du Puigaudeau dans le manoir de Kervaudu, près de Batz-sur-Mer, et Gustave Loiseau a séjourné plusieurs étés à Pont-Aven. Cet attachement de leur part à la Bretagne historique démontre à quel point ils souhaitent être au plus près de leurs sujets. Leur talent ne passe pas inaperçu puisque la célèbre galerie de Paul Durand-Ruel leur a fait confiance, en leur temps. C’est notamment grâce à ce dernier que des œuvres de Maufra entrent dans les plus grandes collections d’avant-garde de l’époque comme celles de l’Art Institute à Chicago et du Russe Sergueï Chtchoukine.
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