Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Light effect on the Sèvres bridge Oil on pencil lines on canvas Unframed 19.0 x 28.0 cm Encouraged by contact with the Impressionist painters who frequented the Bracquemond home in Sèvres, Marie practised her oil technique outdoors on small canvases. Landscape painting enabled her to study the effects of light on nature by dividing the colours into as many coloured impastos. The two studies of the Pont de Sèvres (lots 5 and 7) presented here illustrate a certain aesthetic allegiance to Monet's serial work on millstones. Marie takes up the same motif at different times of day, capturing the chromatic changes in the light, thus confirming Gustave Geffroy's statement that "her favourite master was always Claude Monet, about whom she never ceased to speak enthusiastically<a href="about:blank" rel="noopener noreferrer" target="_blank">^{<strong><i>[1]</i></strong>}</a>". <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Gustave Geffroy, in Exp. Marie Bracquemond, Bernheim-Jeune 1919, p. 7. Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) 19.0 x 28.0 cm Encouraged by contact with the Impressionist painters who frequented the Bracquemond home in Sèvres, Marie practised her oil technique outdoors on small canvases. Landscape painting enabled her to study the effects of light on nature by dividing the colours into as many coloured impastos. The two studies of the Pont de Sèvres (lots 5 and 7) presented here illustrate a certain aesthetic allegiance to Monet's serial work on millstones. Marie takes up the same motif at different times of day, capturing the chromatic changes in the light, thus confirming Gustave Geffroy's statement that "her favourite master was always Claude Monet, about whom she never ceased to speak enthusiastically<a href="about:blank" rel="noopener noreferrer" target="_blank">^{<strong><em>[1]</em></strong>}</a>". <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Gustave Geffroy, in Exp. Marie Bracquemond, Bernheim-Jeune 1919, p. 7.