Pont-Aven, January or February 1892. O'Conor had arrived in Brittany only the previous year, and Gauguin — the school's founding figure — was absent, gone to Tahiti and not due back until 1894. That absence turned out to be freeing: without pressure to fall in line with Gauguin's flat-outlined Synthetism, O'Conor was left to follow his own instincts toward Van Gogh instead.
The view is of the Colline Sainte-Marguerite, the hill rising above the Bois d'Amour that O'Conor also painted that same year in Yellow Landscape, Pont-Aven (now in the Tate). Fields patchwork the slope above the curve of the River Aven, with mill buildings and a plume of smoke from a timberyard hinting at a town not entirely untouched by industry. Likely painted outdoors in the cold, the brushwork is rougher and more instinctive than in his contemporary still lifes — colour laid down in the early alternating stripes that would define his mature style within the year. It is possibly O'Conor's earliest surviving Pont-Aven landscape, and it was exhibited that same spring at the Salon des Indépendants in Paris, under the group title "En Bretagne."
Roderic O'Conor (1860–1940) was born in County Roscommon and became one of the few Irish painters working at the centre of the Pont-Aven school. His work hangs in the National Gallery of Ireland, the Tate, and major collections worldwide.
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A3 (29.7 x 42 cm)
A2 (42 x 59.4 cm)
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