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Emile Claus. (1849 - 1924). 

The Harvest. 

 
Luminism..




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Emile Claus. (1849 - 1924). The Harvest. 

Emile Claus is a rather atypical painter, he has several manners of painting. Excel draftsman he can have a precise key and return details of an extreme smoothness : (Morning of October on the River Leie), but it can also adopt the manner divisionist, as one sees it here in the Harvest. To make the sunny atmosphere of a day of summer in the fields it uses pure colours with tons clear and the colours are split in multiple keys. The eye of the spectator reconstitutes these spots in identifiable objects when it looks at them by far. Each zone of colour breaks up into an infinity of coloured particles which are based in the retina and give the impression of nuances and of tons degraded. This process gives here an exceptionally luminous atmosphere which evokes this luminous fog which is formed in nature under the sun when the days are very hot. The divisionism of Emile Claus is very close to that of Camille Pissarro and quite different from the pointillism from Seurat from Seurat which uses thousands of brought closer points or from Paul Signac to which the colours are often close to the fauvism. Technically this divisionism is that of Pissarro but the colours used are those of Vincent Van Gogh during the period that it passed to Arles. Other paintings divisionists of Emile Claus : (Young country women going on the edges of the Lieie), use the pallet of Pissarro. It is a form of genius to know to take as a starting point each painter in what it has of better. While using the zoom you will realize that few colours are employed and that it is an orange clearly alternate with darker, a green chartreuse alternate him also with a darker green, who dominate. Moreover on the level of the key you will note that in fact points are employed as at Seurat, nor of the fish scales to the manner of Signac, but of the horizontal, vertical, oblique keys with sometimes of the revolving movements as for the blue blouse of the child in the foreground. These keys are carried out with more or less fine brushes. In various places the artist lets appear the white of the painting what is an intelligent technique to light the table and to give an intense impression of light. 

The point of view of the spectator is at the level of the group of character in the second plan. 
The horizon is high, the sky occupies less than one quarter of pictorial space. 

The child in the 1st plan is located on the lower right natural point of interest, the group of character is on the left superior natural point of interest, 3 haystacks to the background occupy the right superior natural point of interest.

The field and its occupants use more of the 2 thirds of pictorial space. The sky, with far occupies less than one third of the surface of work. 

Many guiding lines are horizontal, however the field stretches left towards the line while following the rising diagonal.

Details : 

The haystacks consist of multiple downward, vertical or oblique keys, their colours are oranges, maroon or blue. 

The flowers emerge using small rotary movements above stems chestnut.

The blouse of the child consists of blue and of green. The keys are oblique or revolving. 

Light : The painting is very luminous. In addition to the keys of white and clear grey, the artist leaves zones of the painting without any matter, which makes it possible to still light more the scene. 

Colours : Harmony of analogy.

Similar Paintings : 

Claude Monet. The Haystacks.

Emile Claus. Young country-women going on the edges of the Leie.

Emile Claus. A Meeting on the Bridge.

Emile Claus. The Sunny Tree.