AWCS CAC NAD RCA RI RSC SAA
1858 - 1938
Moonrise, A Canadian Pastoral
huile sur toile
signé et daté et au verso titré, daté, inscrit et étampé
28 1/4 x 38 po, 71.8 x 96.5 cm
Estimation : 40 000 $ - 60 000 $ CAD
Vendu pour : $43,250
Exposition à : Heffel Calgary
Collection of Dr. Alexander C. Humphreys, Carnegie Institute, Pittsburgh
Dominion Gallery, Montreal
Peter Ohler Fine Arts Ltd., Vancouver
Private Collection, British Columbia
Royal Academy Stockholm, Exhibition of American Art for Sweden, March - April 1930, traveling in 1930 to the Glyptotek, Copenhagen; the Kunstverein, Munich; and the Brooklyn Museum
Art Gallery of Ontario, Horatio Walker, R.C.A., N.A. (1858 - 1938) Memorial Exhibition, traveling in 1941 to the National Gallery of Canada, Ottawa and the Art Association of Montreal
Art Gallery of Ontario, Collector's Canada, catalogue #51
Canadian-born painter Horatio Walker is known for his depictions of rural Quebec, for which he achieved international acclaim in the early twentieth century. While Walker never received a formal art education, as a teenager he worked at a Toronto photographic firm, and studied under artists Robert Ford Gagen, John Fraser and Lucius O’Brien. In 1882 Walker traveled to Europe, and in the decades following lived throughout the northeastern United States. Given Walker’s international experience, he was well acquainted with the French Barbizon school, and was particularly influenced by Jean-Francois Millet’s depictions of French peasant farmers. Like Millet and the Barbizon, Walker sought to represent everyday rural subjects in a natural and dignified manner. Walker received numerous gold medals at exhibitions throughout the United States, and a bronze medal at the Paris World Exhibition (1889). He was a co-founder of the Arts Club of Canada in 1907, and succeeded his friend Homer Watson as its president in 1915.
In the first years of twentieth century – when Moonrise, A Canadian Pastoral, was painted – Walker was at the height of his professional success. Many of Walker’s major paintings were produced during this period, including Ploughing the First Gleam at Dawn (1900) and The Ice Cutters (1904), both in the Musée national des beaux-arts du Québec. Like Millet’s nocturnal renderings, Moonrise, A Canadian Pastoral is a highly atmospheric scene: warm golden moonlight illuminates the group of figures at work in the field, with the distant townscape remaining shaded in the background. The standing figure pauses while his companion harnesses the bulls to the plough. Underscoring the simple and transient nature of rural beauty, Walker’s shepherd savours a fleeting, peaceful moment before the evening’s work resumes.
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