Dogs Running in a Meadow

Paul Gauguin

Perros corriendo en el prado

Gauguin, Paul

París, 1848 - Atuona, Islas Marquesas, 1903

Dogs Running in a Meadow, 1888

© Colección Carmen Thyssen-Bornemisza

Signed & dated lower right: ''P. Gauguin 88''.
Carmen Thyssen-Bornemisza Collection on loan to the Thyssen-Bornemisza Museum, Madrid

Oil on canvas

92 x 72,5 cm

CTB.1999.31

Artwork history

  • Boussod et Valadon, París, c. November 1888

  • Dupuis, París, November 12, 1888

  • Hôtel Drouot, lot 24, París, February 23, 1891. Sold Paul Gauguin; n. 25 verbal process, 400 francs

  • M. Jean, París

  • Bernheim-Jeune Gallery, París, May 7, 1923

  • Howard Young Gallery, New York, June 21, 1923

  • Tanner Gallery, Zurich, c. 1927

  • Reid & Lefevre, London, 1934

  • Lord Hollenden, London, 1935

  • Henri Potez, París

  • Drouot-Montaigne, lot 17, París, March 19, 1996

  • Sotheby’s Auctions, lot 14, London, June 28, 1999

  • Carmen Thyssen-Bornemisza Collection

1888

Gauguin, París, Galerie Boussod et Valadon

1891

Gauguin, París, Galerie Boussod et Valadon - Hôtel Drouot

1998

Paul Gauguin, Martigny, Fondation Pierre Gianadda, n. 37, pp. 88, 223

1999 - 2000

Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, Barcelona, Centre Cultural Caixa Catalunya, p. 108

2000

Del post-impresionismo a las vanguardias. Pintura de comienzos del siglo XX en la Colección Carmen Thyssen-Bornemisza, Valencia, IVAM Centre Julio González, n. 6, p. 38

2000 - 2001

La Révolte de la couleur. De l'impressionnisme aux Avant-gardes. Chefs-d'oeuvre de la Collection Carmen Thyssen-Bornemisza, Bruselas, Musée d'Ixelles, n. 16, p. 58

2001

Landschaften von Brueghel bis Kandinsky. Die Ausstellung zu Ehren des Sammlers Hans Heinrich Baron Thyssen-Bornemisza, Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, n. 63, p. 164

2004 - 2005

Gauguin y los orígenes del simbolismo, Madrid, Museo Thyssen-Bornemisza - Sala de las Alhajas, n. 27, p. 137

2007 - 2008

Paul Gauguin. Artista di mito e sogno, Roma, Complesso del Vittoriano, f.c.

2013

Sisley, Kandinsky, Hopper. Col·lecció Carmen Thyssen, Sant Feliu de Guíxols, Espai Carmen Thyssen, p. 68, lám. p. 69

  • -Huret, J.: ”P. G. Devant ses tableaux”.  L’Écho de Paris. 23 feb. 1891, p. 2.

  • -Dovski, L. van: Gauguin. Zurich, 1950, n. 220, p. 346, lám.

  • -Huyghe, R.: Le Carnet de Paul Gauguin. París, 1952, p. 325.

  • -Bodelsen, M.: ”An unpublished letter by Théo van Gogh”. The Burlington Magazine. London, The Burlington Magazine Publications Ltd., June 1957, p. 200.

  • -Rewald, J.: Le Post-Impressionnisme. París, 1961, p. 147.

  • -Wildenstein, Georges: Gauguin. París, Les Beaux Arts, 1964. L’Art Français; vol. 1: Catalogue , vol. 1, n. 265, p. 98, lám.

  • -Sugana, G. M.: L’opera completa di Gauguin. Milán, Rizzoli, 1972. Classici dell’arte; vol. 61, n. 97, pp. 92-93, lám.

  • -Rewald, J.: ”Théo van Gogh, Goupil and The Impressionists”.  Gazette des Beaux-Arts. París, 1973, pp. 32-33, 71-75, 91.

  • -Merlhès, V. (ed.): Correspondance de Paul Gauguin. París, 1984, p. 512.

  • -Gauguin. [Exhib. Cat.]. Pickvance, R. (ed.). Martigny, Fondation Pierre Gianadda, 1998, p. 223, lám. [Sheet by Pickvance]

  • -Wildenstein, Daniel: Gauguin. Premier itinéraire d’un sauvage. Catalogue de l’oeuvre peint (1873-1888). Crussard, Sylvie y Heudron, Martine. Milan, Skira – París, Wildenstein Institute, 2001 , vol. 2, n. 282, pp. 393, 394, lám.

  • -Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, p. 86, lám. p. 87 [ Sheet by Catherine Puget]

  • -Solana, Guillermo: Paisajes en la Colección Carmen Thyssen-Bornemisza. London, Scala, 2006, p. 81, lám. p. 80, det. p. 81.

  • -Alarcó, P. y Borobia, M. (eds.): Guía de la colección. Museo Thyssen-Bornemisza. Madrid, Museo Thyssen-Bornemisza, 2012, p. 274, lám.

  • -Sisley, Kandinsky, Hopper. Col·lecció Carmen Thyssen, Sant Feliu de Guíxols, Espai Carmen Thyssen, 2013, p. 68, lám. p. 69 (Exhib. Cat.).

Expert report

From January to October 1888 Gauguin spent a second period in Pont-Aven, staying at Marie-Jeanne Gloanec’s inn. During those months he painted around thirty pictures, mainly landscapes inspired by Pont-Aven and its surroundings. They are country scenes showing rural activities.

At the beginning of March Gauguin wrote to Émile Schuffenecker: “you are attached to Paris, and I am to the countryside. I love Bretagne. There I can find the wild, the primeval. When my clogs hit this granite ground, I can hear the deep, matt and powerful tone I’m looking for in painting.”

This picture was painted in the immediate surroundings of Pont-Aven. Gauguin went everywhere on foot, and so his works were painted in a very limited area.

The fields depicted are typical of this region, they spread in a hilly landscape, marked by a group of poplars in the centre. These trees indicate the presence of a waterway not visible in the painting. The scene is undoubtedly upriver from Pont-Aven, where the river is still a simple stream.

The house at the back on the right has two gable chimneys, characteristic of Breton houses, but the third and much taller chimney is that of a factory.

The fields are in bloom; in the foreground there are two dogs, typical of Gauguin, who liked to put dogs in his compositions, in the country and on the beaches, in Bretagne as well as in Tahiti.

On the right, between the dogs in the foreground and the house in the background, we can see the outline of a woman leaning over while she is picking up something, whose bonnet stands out as a white speck on the grass.

This Impressionist painting brings to mind Monet-the paint is applied in thin layers and with a gentle brushstroke.

The picture was painted around May, before the arrival of Émile Bernard in August, an event which marked an artistic revolution for both painters. As a result, Émile Bernard produced Breton Women in the Fields, and Gauguin answered with The Vision of the Sermon, two synthetic masterpieces.

Here, the composition is still classical, with an ascending perspective which leads the eye towards the line of poplars, prolonged to the left by the slope of the hill, and to the right by the building. The colours are realistic and the rural subject still recalls Camille Pissarro, Gauguin’s first master. The running dogs are of minor importance, despite being the title of the work.

Contrary to many others, this painting was sold very quickly by Théo Van Gogh to a Parisian collector in November 1888.

Catherine Puget