The French province with its unique patriarchal rural flavor always attracted Gauguin. Here he saw peace, dimensionality, some kind of innocence and purity of people – all this acted as an antagonist to the noisy bustling city.
In 1885, trying to escape from financial problems, the artist comes to a small town of Pont-Aven and settles in the guest house Gloanek. Finding here, Gauguin leads the so-called Pont-Avensk school, whose natives are destined to become ideological inspirers of post-impressionism.
It is here, under the influence of these picturesque places, the master is developing a new style for his own creativity, handwriting is cloazonism. According to this manner, Gauguin’s main role was to remove the plasticity of the line and the color saturation, depriving him of unnecessary variation of shades. As a result, an unusually bright decorative panel was created, no matter how unpretentious the plot might seem.
An example of such metamorphosis can serve as a picture of the “Breton landscape with a swineherd”, created by Gauguin in 1888. Gauguin’s ordinary everyday scene turns into a colorful canvas, bright and monumental.
The main role of the artist was given to the color, namely, the green color leads the leading party. The rest of the color is inevitably absorbed by the saturated green.
It’s not immediately possible to translate your attention to the main characters of the plot – the shepherd boy, the living creature, the beautiful landscape and the rich nature, because color coloring constantly replaces everything else.
Gauguin never tried to convey any movement in his work, on the contrary, the state of rest and contemplation is one of the main features of the master’s painting. So the “Breton landscape” breathes calmness and differs even by a certain static, however, the filigree possession of the color and light in the power of Gauguin, transforms the ordinary rural mise-en-scene into a bright picture, endowed with decorative and monumental.
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