Painting by Paul Sérusier, Incantation or The Holy Wood. Three women, barefoot, make an offering at what appears to be a natural altar of a mossy rock, before which one woman kneels, having lit a candle. Two women carry bowls of some sort of offering. The trees are painted red above a green forest floor.
The Incantation or The Holy Wood, painting, Paul Sérusier, artist.
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🎨 'The Incantation (The Holy Wood)' (1891)
by Paul Serusier
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The Talisman: The Aven River at the Bois d'Amour | Paul Serusier
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The picture was painted in the Breton fishing village Le Pouldu, not far from Pont-Aven. The same lattice gate was painted, also in 1889, by Paul Sérusier. In that year Sérusier founded the Symbolist group of artists Les Nabis. Whereas van Gogh was concerned to deepen the Impressionist view of reality through the exaltation of his spiritual, psychic vision, Gauguin and his circle consciously strove to create a new style that would combine the elemental decorative forms of European folk art or Japanese woodcuts with the symbolic use of forms of the Middle Ages. The image of The Gate, from which the painting takes its title, is not merely a picturesque distortion of reality; rather, its expressive quality lends the space surrounding the young woman an almost iconic status. The colours and forms glow, as in a fairytale, with a wonderful distinctness; as if blessed with a soul the rock holds the gate with its arm and calls to mind the menhirs of ancient Brittany, possessed by pagan spirits. The fenced-in meadow contrasts with the boundless freedom of the white sailing ship on the distant sea, a metaphor for the wanderlust that was soon to drive Gauguin to a Tahiti permeated by an animistic belief in the spirit world.
The Gate by Paul Gauguin, 1889, Kunsthaus Zürich (Zürich, Switzerland)
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Breton Eve or, Melancholy - Paul Sérusier
oil on canvas
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After the Bath (The Nymphs) - Emile Bernard
oil on canvas
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Yellow Farm at Pouldu - Paul Sérusier
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