Albanian Olive Gatherers

John Singer Sargent 1856 - 1925

Summary

An Impressionist, Mediterranean landscape with Albanian olive gatherers at work. Figures in Albanian folk dress crouch, gathering olives from the ground, beneath a row of huge gnarled olive trees on the left. In the background to the right, one figure stands with a long stick reaching up into the branches of a tree, whilst others bend over toward the ground. The female figure to the bottom right has a basket. The men are in skullcaps, loose, knee-length drawers, waistcoats, white shirts and white leg coverings. The women wear loose draped dresses and waistcoats, and their heads are covered in a Muslim style. The sky above is bright and sunlit, the light falling in dappled spots through the heavy trees. Purplish hills are visible above the trees to the right.

Display Label

Channel Crossings English and French Impressionism and Post-Impressionism from the collection of Manchester Art Gallery This display looks at the allure and excitement of French art for a generation of English and Scottish painters emerging from the claustrophobia of late Victorian painting. Breaking with the Classical rigours of the Academy and the Salon, the artists who came to be known as the Impressionists painted naturalistic scenes with loose and quickly applied brushwork to convey the effects of light and the natural colours of shadows which had previously been rendered with blacks and browns. They explored the French countryside where they learned how to paint directly en plein air closely studying the changing effects of the seasons. Making regular visits to or studying in Paris, English and Scottish artists were in turn enthralled by these painterly discoveries. The new method of painting they then applied to the English landscape, to still lifes, portraits and interiors. Painters of the New English Art Club like George Clausen, John Singer Sargent and Philip Wilson Steer combined the subject matter of late Victorian genre scenes with the new style. Works by these artists and others are here shown alongside a few choice examples of French Impressionism from the collection and by the fore-runners of Impressionism; Eugène-Louis Boudin, Charles Daubigny and Johan Jongkind. While the English artists went to France the French painters and their dealers, such as Paul Durand-Ruel, escaped the Franco-Prussian war of 1870-71 and went to London. Their paintings were seen in England and some were even bought by Manchester collectors. In the Edwardian era newer developments in French art inspired English and Scottish artists on their cross-Channel trips and via a series of influential London exhibitions. The high-keyed colour and bold lines of the Post-Impressionist paintings of Paul Gauguin and Vincent Van Gogh were now huge influences on the artists of the Camden Town Group such as Harold Gilman and Charles Ginner. Later still Matthew Smith was to take his inspiration directly from Henri Matisse under whom he studied in Paris.