Fermiere aux oies

Clarence Alphonse Gagnon (1881 - 1942)

Fermiere aux oies, 1907

  • Gallery

    Galerie Cosner au Ritz-Carlton Montréal

  • Medium

    Oil on canvas

  • Time

    Fine Canadian Art

  • Dimensions

    Dimension of the artwork: 33 x 45,7 cm / 13'' x 18'' Dimension with frame: 48,2 x 59,7 cm / 19'' x 23,5''

  • Signed

    Sined and dated 07 lower left

Price upon request

From 1904 to 1908, Clarence Gagnon made his first visit to France. In the summer of 1907, he went to Saint-Malo, Dinard and Nemours. During his stays in Brittany, the painter creates compositions where shadows and lights reflect different atmospheric changes. In the work Fermière aux oies, 1907, the painter presents a crouching female silhouette at the foot of a tree, at the twilight of a summer's day, accompanied by a flock of geese.

The landscapes he produces during the French period are mainly rustic and animated by a peasant figure. During this period, the color palette of the painter is refined, the play of shadows and lights assert themselves and set the tone for rural scenes. In compositions from 1905 to 1908, as in the work Fermière aux geese, Gagnon favors solitary figures, depicted with a delicate and applied touch. According to the research of the art historian Hélène Sicotte, "[...] if Gagnon does not adopt the separate touch of the Impressionists, he is nonetheless trying to transpose on the canvas the transitory and fugitive effect of things 1. As a natural observer, Gagnon, in the work Fermière aux oies, captures an ephemeral moment in the darkness of a Breton countryside.

Clarence Gagnon's stay in Paris is very fruitful on the artistic level. In addition to developing a pictorial style inspired by the French impressionists, Gagnon met several Canadian painters like James Wilson Morrice and Marc-Aurèle of Foy Suzor Coté.

Hélène Sicotte, 2006, "From Montréal to Beaupré: At the Sources of the Country", Clarence Gagnon: Dreaming the Landscape, National Gallery of Canada, Montreal: Éditions de l'Homme, p.89.


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