Mathurin Janssaud (1857-1940) stands as a significant, if sometimes overlooked, figure in French art, particularly celebrated for his evocative depictions of Brittany. A master of the pastel medium, Janssaud dedicated much of his career to capturing the unique atmosphere, daily rhythms, and luminous qualities of the Breton coastline, especially around the bustling port of Concarneau. His work offers a vibrant window into a world of seafaring traditions, resilient communities, and the ever-changing interplay of light on water and land.
From Provence to the Breton Coast
Born in Manosque, a town nestled in the Alpes-de-Haute-Provence region of southeastern France, Mathurin Janssaud's early artistic inclinations were shaped by the sun-drenched landscapes of his native Provence. The brilliant light and vivid colors of the south undoubtedly played a role in his developing sensitivity to atmospheric effects. However, it was the rugged charm and distinct cultural identity of Brittany that would ultimately become the central focus of his artistic output.
At some point in his career, Janssaud made the pivotal decision to relocate, eventually settling in Concarneau. This fishing port, with its ancient walled town (Ville Clos), bustling quays, and vibrant maritime life, provided him with an inexhaustible source of inspiration. The contrast between the Mediterranean light of his youth and the softer, more diffused, yet often dramatic, light of the Atlantic coast of Brittany seems to have captivated him, leading to a profound exploration of its nuances in his art.
Concarneau: A Haven for Artists
By the late 19th and early 20th centuries, Concarneau, much like its nearby counterpart Pont-Aven, had become a magnet for artists. They were drawn by the picturesque scenery, the "primitive" authenticity of local customs and dress, the affordable cost of living, and the camaraderie of fellow painters. Janssaud found himself part of a thriving artistic community in Concarneau.
He became associated with a group of painters who shared a common interest in capturing the essence of Brittany. This circle included notable artists such as Alfred Guillou (1844-1926), a Concarneau native and a key figure in the local art scene, known for his depictions of fisherfolk and maritime events. Théophile Deyrolle (1844-1923), who, along with Guillou, was instrumental in establishing the Concarneau art colony, also focused on Breton life and landscapes.
Other significant figures active in and around Brittany during Janssaud's era, contributing to the region's artistic renown, included Henri Barnoin (1882-1940), who, like Janssaud, was celebrated for his lively market scenes and harbor views, often rendered in vibrant pastels. Fernand Le Goût-Gérard (1856-1924) was another prominent painter of Concarneau, known for his atmospheric port scenes. The broader artistic currents of the time also saw painters like Paul Gauguin (1848-1903) and Émile Bernard (1868-1941) revolutionize art in Pont-Aven, their influence rippling through the region. While Janssaud's style was perhaps more traditional, the spirit of artistic exploration was palpable.
The presence of such artists created a stimulating environment. Painters like Maxime Maufra (1861-1918) and Henry Moret (1856-1913), associated with the Pont-Aven school, also captured the Breton coast with their distinct Post-Impressionist sensibilities. Further afield, artists like Lucien Simon (1861-1945) and Charles Cottet (1863-1925), part of the "Bande Noire" group, depicted the harsher, more somber aspects of Breton peasant and fisher life, often with a powerful realism. Émile Jourdan (1860-1931) and Jean-Bertrand Pégot-Ogier (1877-1915) also contributed to the rich tapestry of Breton art. This vibrant artistic milieu undoubtedly provided both inspiration and a supportive network for Janssaud.
Mastery of Pastel and the Pursuit of Light
Mathurin Janssaud's preferred medium was pastel. This choice was instrumental to his artistic aims. Pastels, with their pure pigment and direct application, allowed for a spontaneity and brilliance of color that perfectly suited his desire to capture fleeting moments of light and atmospheric conditions. He handled pastels with remarkable dexterity, achieving both delicate tonal gradations and bold, expressive strokes. While he occasionally worked in watercolor, it is his pastel works that define his oeuvre.
His style is characterized by a keen observation of light and its effects on color and form. Whether depicting the pearlescent glow of dawn over a harbor, the shimmering reflections on wet quays, or the warm hues of a sunset, Janssaud demonstrated a profound understanding of how light shapes perception. He was particularly adept at rendering "movement," not just in the figures he portrayed but also in the play of light and shadow, the scudding of clouds, or the gentle lapping of waves.
His compositions often feature dynamic arrangements, drawing the viewer into the scene. There is a sense of immediacy and life in his work, a feeling that one is witnessing a genuine moment in time. While not an Impressionist in the strictest sense, his focus on capturing the visual sensations of a particular moment and place shares common ground with Impressionist ideals.
Dominant Themes: The Lifeblood of Brittany
Janssaud's thematic concerns were deeply rooted in the Breton environment he came to call home. The sea, the ports, and the people whose lives were intertwined with them were his constant subjects.
Harbor Scenes and Animated Quays: Concarneau's harbor, with its forest of masts, colorful fishing boats (often the sardine boats or "sardiniers"), and bustling quayside activity, was a recurring motif. Works like Quais animés à Concarneau (Animated Quays in Concarneau) and Sur le passage Lanriec à Concarneau (On the Lanriec Passage in Concarneau) exemplify his ability to capture the energy of these maritime hubs. He depicted boats returning with their catch, nets being mended, and the general comings and goings that defined port life.
The Return from Fishing: A particularly favored theme was the "retour de pêche," or the return of the fishing fleet. This subject allowed him to explore various light conditions, from the hazy light of early morning to the dramatic colors of sunset. Titles such as Retour de pêche à Bretagne (Return from Fishing in Brittany), Le retour des sardines soleil couchant à Concarneau (The Return of the Sardines at Sunset in Concarneau), and variations like Retour de pêche en Bretagne capture these poignant moments, often imbued with a sense of anticipation or quiet industry.
Sunrises and Sunsets: Janssaud was a master of depicting the transitional light of dawn and dusk. Sunset in a Breton port (Concarneau), a notable work held in the Musée d'Orsay in Paris, showcases his skill in rendering the subtle and dramatic colors of the setting sun over the water. Similarly, Le lever du soleil sur le port de Concarneau (Sunrise over the Port of Concarneau) and Le lever du soleil (Sunrise) highlight his fascination with the atmospheric effects of early morning light. Moonrise Over the Port, Concarneau demonstrates his ability to capture nocturnal scenes as well.
Local Figures and Traditions: While landscapes and seascapes dominated, Janssaud also depicted the people of Brittany, often the women in their distinctive white coiffes (headdresses) and traditional attire. These figures populate his market scenes and quayside vignettes, adding a human element to his portrayal of Breton life. His work, in this sense, serves as a visual record of local customs and dress of the period.
Other Breton Locales: While Concarneau was central, Janssaud also painted other Breton scenes. Le port de Nantes (The Port of Nantes) indicates his exploration of other significant maritime locations within the region. Works like Le retour du troupeau (The Return of the Herd) and Hameau de Pêcheurs (Fishermen's Hamlet) suggest a broader interest in the rural and coastal landscapes of Brittany beyond the immediate confines of Concarneau's main port.
Notable Works: A Closer Look
Several of Mathurin Janssaud's works stand out for their artistic merit and representativeness of his style and themes:
Sunset in a Breton port (Concarneau): This piece, housed in the prestigious Musée d'Orsay, is a testament to his skill with pastels and his sensitivity to light. It likely captures the vibrant yet fleeting colors of a sunset reflecting on the harbor waters and fishing boats, a subject he returned to often. The choice of pastel on card would have allowed for rapid execution to capture the transient effects of the fading light.
Retour de pêche à Bretagne (Return from Fishing in Brittany): This title appears multiple times, often with slight variations in dimension (e.g., 24 x 35 cm or 23 x 33.5 cm), suggesting it was a theme he revisited. These works typically depict fishing boats arriving back in port, sails often still partially set, with figures on the quay awaiting them. The mood could vary from the bustle of unloading a catch to a more serene end-of-day atmosphere, depending on the light and composition.
Quais animés à Concarneau (Animated Quays in Concarneau): This title evokes the lively atmosphere of Concarneau's waterfront. One can imagine scenes filled with fishermen, merchants, local women in traditional dress, and the general hubbub of a working port. Janssaud excelled at orchestrating these complex scenes, capturing both individual details and the overall sense of communal activity.
Le retour des sardines soleil couchant à Concarneau (The Return of the Sardines at Sunset in Concarneau): Specifically mentioning the sardine boats, a vital part of Concarneau's fishing industry, this work (a pastel measuring 25.5 x 33 cm) would focus on the particular beauty of the fleet returning as the sun sets, casting long shadows and bathing the scene in warm light.
Le port de Nantes (The Port of Nantes): A larger pastel (54 x 36 cm), this work indicates Janssaud's engagement with other significant Breton ports. Nantes, situated on the Loire River, offered a different kind of maritime environment than the coastal fishing villages, perhaps featuring larger vessels and a more industrial backdrop, which Janssaud would have interpreted through his characteristic focus on light and atmosphere.
These, among many others, showcase Janssaud's consistent dedication to his chosen subjects and his mastery of the pastel medium to convey the unique character of Brittany.
Exhibitions, Collections, and Enduring Appeal
Mathurin Janssaud's works were exhibited during his lifetime and continue to appear in galleries and at auction, attesting to their enduring appeal. His painting Sunset in a Breton port (Concarneau) found a place in the national collections of France, now at the Musée d'Orsay, a significant recognition of his talent.
His paintings are regularly featured in auction catalogues from houses such as Heritage Auctions in New York (e.g., Moonrise Over the Port, Concarneau), Dame Marteau, and Adjug'Art BREST-QUIMPER in France. These sales often feature his characteristic Breton scenes, with estimates reflecting a steady appreciation for his work among collectors. For instance, Retour de pêche en Bretagne was estimated at €800-€1,000 in a 2015 auction, and Le retour des sardines soleil couchant à Concarneau at €1,000-€1,200.
Beyond France, his work has also been shown internationally, as evidenced by an exhibition at the ArtShrine Gallery in Sydney, Australia, which included his pieces, indicating a broader appreciation for his art. The continued presence of his work in public and private collections, as well as its circulation in the art market, underscores his importance as a chronicler of Breton life and a skilled practitioner of pastel.
Legacy of a Breton Painter
Mathurin Janssaud's legacy lies in his sensitive and luminous portrayals of Brittany. He was not a radical innovator in the vein of Gauguin or Bernard, but rather a dedicated observer who used his considerable technical skill, particularly with pastels, to capture the soul of a region. His paintings evoke a specific time and place, preserving the visual character of Breton ports, the daily lives of its people, and, above all, the magical quality of its light.
His association with the Concarneau group of artists places him within an important chapter of French regionalist painting. Alongside contemporaries like Guillou, Deyrolle, Barnoin, and Le Goût-Gérard, he contributed to a body of work that celebrated Brittany's unique cultural and natural heritage. While the influence of Impressionism and Post-Impressionism can be felt in the broader artistic climate, Janssaud forged his own path, staying true to his focus on representational art infused with a deep appreciation for atmospheric effects.
Today, his works are valued not only for their aesthetic qualities – their charming compositions, vibrant colors, and masterful handling of pastel – but also as historical documents. They offer a glimpse into the maritime traditions and coastal landscapes of Brittany at the turn of the 20th century, a world that has since undergone significant change. Mathurin Janssaud remains a cherished artist for those who appreciate the enduring beauty of Brittany and the delicate art of pastel. His paintings continue to transport viewers to the lively quays and serene harbors of a bygone era, forever illuminated by the distinctive Breton light he so skillfully captured.
