Le Soulier
Original etching from an edition of 60, signed and titled in pencil.
As he wrestled with his paints Gross continued to etch, and some clues to his development as a painter are present in the very different landscape etchings Chasteaux and Le Soulier (Truffle Valley) of 1928. The first, a cannily balanced post-impressionist landscape, bears echoes of Pissarro, while the second is an expressive, dynamic post-Fauve image, whose racing forms may owe something to Soutine. Both are seen from high vantage points. Julian Freeman 2021.
As he wrestled with his paints Gross continued to etch, and some clues to his development as a painter are present in the very different landscape etchings Chasteaux and Le Soulier (Truffle Valley) of 1928. The first, a cannily balanced post-impressionist landscape, bears echoes of Pissarro, while the second is an expressive, dynamic post-Fauve image, whose racing forms may owe something to Soutine. Both are seen from high vantage points. Julian Freeman 2021.
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Description
Original etching from an edition of 60, signed and titled in pencil.
As he wrestled with his paints Gross continued to etch, and some clues to his development as a painter are present in the very different landscape etchings Chasteaux and Le Soulier (Truffle Valley) of 1928. The first, a cannily balanced post-impressionist landscape, bears echoes of Pissarro, while the second is an expressive, dynamic post-Fauve image, whose racing forms may owe something to Soutine. Both are seen from high vantage points. Julian Freeman 2021.
As he wrestled with his paints Gross continued to etch, and some clues to his development as a painter are present in the very different landscape etchings Chasteaux and Le Soulier (Truffle Valley) of 1928. The first, a cannily balanced post-impressionist landscape, bears echoes of Pissarro, while the second is an expressive, dynamic post-Fauve image, whose racing forms may owe something to Soutine. Both are seen from high vantage points. Julian Freeman 2021.
