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Lot Essay
Sir Alfred Munnings revelled in the sublime beauty of the English countryside, and it could be said that his paintings of such scenery were expressions of his soul.
Viewing the present lot, it is easy to feel what the artist must have enjoyed whilst standing at his easel that day: a cool breeze, complimented by the warmth of the late summer sun, its brilliance setting alight the pre-autumnal reds, oranges and golds of the leaves, in anticipation of the sunset to come; the silence of the landscape is broken only by the bleat of a sheep, a snort from his hunter, and occasional unscrewing of the top from his flask. The lowering sun casts light across the undulating hills, and long shadows – particularly those of the sheep – punctuate the landscape, rolling down the slopes towards the woodlands below.
The juxtaposition between the lush, bushy foliage – tired by the heat of the summer - and the smoother surface of the grasses, are captured by the masterful speed of Munnings’ brush, and bold sweeps of impasto give depth to the landscape and trees. Notably the artist used both ends of the brush, unconventionally drawing into the oil with the top end, to add texture to the foliage in the foreground. One of the foremost British Impressionists, Exmoor indisputably shows the artist at his best.
We are grateful to Lorian Peralta Ramos for her assistance in preparing this catalogue entry. The painting will be included in her forthcoming catalogue raisonné of the work of Sir Alfred Munnings.
Viewing the present lot, it is easy to feel what the artist must have enjoyed whilst standing at his easel that day: a cool breeze, complimented by the warmth of the late summer sun, its brilliance setting alight the pre-autumnal reds, oranges and golds of the leaves, in anticipation of the sunset to come; the silence of the landscape is broken only by the bleat of a sheep, a snort from his hunter, and occasional unscrewing of the top from his flask. The lowering sun casts light across the undulating hills, and long shadows – particularly those of the sheep – punctuate the landscape, rolling down the slopes towards the woodlands below.
The juxtaposition between the lush, bushy foliage – tired by the heat of the summer - and the smoother surface of the grasses, are captured by the masterful speed of Munnings’ brush, and bold sweeps of impasto give depth to the landscape and trees. Notably the artist used both ends of the brush, unconventionally drawing into the oil with the top end, to add texture to the foliage in the foreground. One of the foremost British Impressionists, Exmoor indisputably shows the artist at his best.
We are grateful to Lorian Peralta Ramos for her assistance in preparing this catalogue entry. The painting will be included in her forthcoming catalogue raisonné of the work of Sir Alfred Munnings.