Vendu pour : 304 200 $

PROVENANCE
Acquired directly from the Artist in 1974 by the present
Private Collection, France

BIBLIOGRAPHIE
Francine Brousseau, Jean Paul Lemieux, His Canada, Canadian Museum of Civilization, 1998, page 13

In discussing the enduring appeal of Jean Paul Lemieux’s work, Francine Brousseau ascribes the artist’s appeal to his use of pictorial organization, light and perspective, and “the emotion and the strange sense of complicity we feel when confronted with his images [so] that we never tire of these paintings…The artist speaks a language understood by all and invites us to look beyond.”

Painted during the artist’s mature period, this work bears witness to Lemieux’s multilayered skill as an artist, his total economy of means, and his ability to depict a complex idea through a scene of utter simplicity. Here, in an apparently motionless landscape, we are witnessing the clash of civilizations, the point of no return between two eras and the rift between two different lifestyles. As the train - the mechanized world - rushes into the scene, the horse and rider - from a more traditional world - are caught in the near right corner of the composition. On the far left and opposite side, a train approaches, white smoke billowing, huffing, breaking the silence and inexorably interrupting any inner thought.

The train has a purpose, it must hurry, it cannot linger nor waste any time. The rider and the train are each going in different directions in the apparent stillness of the work. The rider comes from our space, reminding us of our link to nature and the less hurried, less rushed and perhaps less efficient world where, from the vantage of the horse’s back, we are capable of appreciating nature’s overwhelming beauty, especially as represented by Lemieux’s magnificent and enigmatic, timeless and austere landscape. The train comes from a distant horizon, perhaps a city, but certainly a place of commerce. So much is conveyed by so little in Lemieux’s depiction of the train. The triangle of grey smoke is barely visible against the grey sky, and the length of the train is uncertain, yet we know the train is moving quickly towards an impatiently waiting destination, somewhere off to the left of our view. The horse and rider, by contrast, move slowly, perhaps even pause, as their half-brown, half-red colours echo those of the train. There is a sense of spiritual discord and contrast between the horse and rider and the train. It is not a matter of right or wrong, but more a matter of a simple difference, and underscores the artist’s ability to note, hint at, and ever so subtly suggest that we consider this difference.

Upon closer analysis, the rigorous composition of this work further demonstrates Lemieux’s artistic skill. The work can be divided into three parts, one part land and two parts sky. The moving horse and train contrast with the motionlessness of the landscape and are separated almost equally by the horizon. One horizontal, the other vertical, the rider and the train both occupy the landscape equally, yet their relationship to it is completely different. Additionally, while the train runs parallel to the horizon, the horse and rider cross it, giving the work balance and opposition, push and pull. Further, we are drawn into the work in an active manner, as we follow the rider’s path.

Lemieux’s paintings, at once subtly nuanced and fascinating, have an astonishing spiritual appeal. His winter scenes, rife with solitude, have contributed to the painter’s eminence. This masterpiece of Canadian art, whose location was previously unknown, has now been re-discovered and returned to Canada.

Tous les prix affichés sont en dollars canadiens

Bien que nous ayons pris soin d’assurer l’exactitude de l’information publiée, des erreurs ou omissions peuvent se produire. Toute enchère est soumise à nos modalités et conditions de vente. Les enchérisseurs doivent s’assurer qu’ils sont satisfaits de la condition du lot avant d’enchérir. Les rapports de condition sont disponibles sur demande.