https://charles.angrand.fr/files/original/1/2/1881_LeGardeurDeDindons.jpg 932906da8f17f28837640feb1bbd6c45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pointillisme Subject The topic of the resource Les peintures néo-impressionnistes de Charles Angrand Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Le Gardeur de dindons Creator An entity primarily responsible for making the resource Charles Angrand Date A point or period of time associated with an event in the lifecycle of the resource 1881 Rights Information about rights held in and over the resource Collection privée Pierre Angrand (the artist's nephew) Jacques Rodrigues-Henriqués, Paris (acquired from the above, 7th October 1959) Thence by descent to the present owner Format The file format, physical medium, or dimensions of the resource 55 cm x 46 cm Type The nature or genre of the resource Huile sur toile Description An account of the resource Le Gardeur de dindons was painted in 1881, five years prior to L'après midi d'été à la grande jatte, Seurat's manifesto to divisionism. Angrand did not paint more than ten canvases per year and destroyed many of his early works, including a larger version of the present composition, keeping only those which he felt best reflected his artistic aims. The audacious subject and startling technique of Le gardeur de dindons puzzled Angrand's contemporaries but were analysed with insight by Antoine Darcel in Le Journal de Rouen of 17th october 1882 : "ce n'est pas le gris, c'est le blanc qu'affectionne monsieur Angrand. Son Gardeur de dindons, bien qu'il prête à rire par la façon japonaise dont le sujet est traité n'est point exempt de qualités...Le terrain, vert pâle moucheté de blanc est bizarre : les dindons ne semblent pas à leur place, mais nous serions étonnés si monsieur Charles Angrand, revenu des étrangetés des prétendus impressionnistes, n'arrivait pas à quelque chose, car il voit juste."(quoted in Claude Pétry and François Lespinasse, L'Ecole de Rouen, de l'Impressionnisme à Marcel Duchamp (exhibition catalogue), op. cit., p. 62). The luminous shades of green, the simple planes and the precise and distinct brushstrokes of the present work anticipate the scientific principles of neo-impressionism championed by Angrand's friend Seurat. While he always distanced himself from all official artistic or political movements, Angrand's influence in leading the path from impressionism to neo-impressionism and divisionism was recognised by his peers, including Van Gogh, who, in a letter dated 25th october 1886, expressed his desire to exhange two of his views of Le Moulin de la Galette, against an early Angrand painting Dans la basse-cour. Source A related resource from which the described resource is derived Le Salon d'hiver (Paris, France) : 1881-82 27e Salon Municipal des Beaux-Arts (Rouen, France) : 1882. N° 14 Société des jeunes artistes (Paris, France) : 1885, N° 6 Musée des Beaux-Arts (Rouen, France) : <em>L'Ecole de Rouen, de l'Impressionnisme à Marcel Duchamp</em>, 1996<br />N° 12. Catalogue. Sotheby's (Londres, UK) : vente du 22/06/2004 Lot 148 Estimation : GBP 50 000-70 000 Charles Angrand Néo-impressionnisme