![]() ![]() 87, notes that the walled city of Aigues-Mortes inspired Bazille's three landscapes of June 1867. "Bazille: son œuvre s'achève en 1870." Connaissance des arts no. 23, ill., calls it "Porte d'Aiguesmortes" mentions several pencil studies for the horses and figures (Musée du Louvre, Paris). "Le Peintre de l'été languedocien." Arts de France no. "Une oeuvre inconnue de Frédéric Bazille." Arts de France nos. Le Languedoc." L'Art et les artistes 28 (June 1934), p. "Le Visage des pays de France vu par nos artistes: VII. 20, as "Porte fortifiée" in the text and "Porte d'Aiguesmortes" in the list of works remarks that the landscapes of Aigues-Mortes with their depiction of summer light mark a change in Bazille's palette locates it in the collection of Mme Brunel, Montpellier, and notes its inclusion in Bazille's 1927 retrospective exhibition. , reports that he has started three or four landscapes near Aigues-Mortes. ![]() ![]() "Frédéric Bazille (1841–1870) and the Birth of Impressionism," April 9–July 9, 2017, no. "Frédéric Bazille, la jeunesse de l'impressionnisme," November 15, 2016–March 5, 2017, no. "Frédéric Bazille, la jeunesse de l'impressionnisme," June 25–October 16, 2016, no. "Impressionist France: Visions of Nation from Le Gray to Monet," March 16–July 6, 2014, no. "Impressionist France: Visions of Nation from Le Gray to Monet," October 19, 2013–February 9, 2014, no. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions," October 24, 2008–February 1, 2009, online catalogue. 16 (as "The Queen's Gate at Aigues-Mortes"). "Monet and Bazille: A Collaboration," February 23–May 16, 1999, no. "Origins of Impressionism," September 27, 1994–January 8, 1995, no. "Frédéric Bazille," July 9–October 4, 1992, no. 75 (as "Gate at Aigues-Mortes," lent by a private collection, New York). "Lighting up the Landscape: French Impressionism and its Origins," August 1–October 19, 1986, no. 24 (as "'Porte d'Aigues-Mortes,' dite 'Porte de la Reine,'" lent by a private collection, Lausanne). "L'Impressionnisme dans les collections romandes," June 17–October 21, 1984, no. 21 (as "Porte d'Aigues-Mortes," lent by a private collector). "Frédéric Bazille and Early Impressionism," March 4–April 30, 1978, no. 20 (as "Porte de la Reine à Aiguesmortes," lent by M. 31 (as "La Porte de la Reine à Aigues-Mortes"). 20 (as "Porte d'Aiguesmortes," lent by Madame Castelnau). "Centenaire de Frédéric Bazille," May–June 1941, no. "Rétrospective Bazille," May–June 1927, no. Bazille was surprised by this, modestly writing that the jury had accepted him "I don't know how, probably by mistake.Exposition Internationale de Montpellier. These hesitations and compromises probably explain why his painting was accepted by the Salon in 1868 while Monet's more daring compositions were refused. The execution seems restrained and Bazille reworked the canvas extensively during the winter and returned to it again a year later after it was shown in the Salon, replacing little dogs with a contrived still life. As a result, although it is a group portrait of family life, the postures are rather stiff. Unlike Monet's large canvas Women in the Garden, which Bazille had recently bought, each figure is also a portrait and almost all are looking towards the spectator as if at a camera. The light filtered by the foliage enhances the pale clothes, contrasting with the dark note of the jackets, a shawl or an apron. The group is in the shade of a large tree, which accentuates the bright colours of the landscape and the sky. The strong contrasts show Bazille's liking for the light of the South of France. During a summer holiday in the family home at Méric, near Montpellier, he worked on this motif in a fairly large painting showing ten of his close family gathered on the terrace, and adding himself at the far left of the painting. Before his early death in battle during the Franco-Prussian war in 1870, Frédéric Bazille was close to Renoir and Monet, particularly admiring their open-air paintings. ![]()
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