On display is a landscape depiction, which is dedicated to the cherry trees in full bloom in the middle of a flower meadow.
The petals of the trees vary from rich red tones to delicate white-rosé hues. These are depicted in the meadow and trees in a pointed, impasto manner.
In the distance extends a village bordered by trees and mountains. In the center, a church can be seen, which is identified by the colorfully and formally contrasting church tower.
The church tower rises imposingly and powerfully from this scenery. Like a pointing finger, it directs the gaze upwards to the sky, giving the work a
These also form the motivic center of this spring-like scenery. Almost like a mirror image, the symmetrical arrangement of the trees is more than just pure landscape observation, but – as is so often the case with André Evard – a decorative-ordering element that brings the ornamental character of his works to the fore.
As a student of Charles L’Eplattenier, a well-known representative of the Style Sapin, Evard’s ornamental ordering principles are borrowed from the ideas of Art Nouveau.
However, Evard interpreted this approach in the spirit of modern art. Brushstrokes and formal language open up an increasingly expressionistic character.
Again, quite in the manner of the Impressionists, Evard avoided the use of black color and marked shadows and dark areas with corresponding bluishness. True to the conviction of the Impressionists, the Swiss artist went out into nature to capture the true colors and light situation of nature.
This is also evident in one of his works from 1914, which shows that landscape with the village from a closer vantage point this time: Church with Cypresses, 1914, oil on hardboard, 34 x 34 cm.
His love for the landscape around his hometown of La Chaux de Fonds becomes clear here. At the same time, he masterfully succeeds in capturing the spirit of spring.
Evard was often in