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In spring 1889 the Dutch artist de Haan began an 18-month stay in the villages of Pont-Aven and Le Pouldu. With Gauguin as friend and mentor, he abandoned his academic approach in favor of Pont-Aven School ideals.
Though de Haan's Pont Aven works are rare, they indicate that fruit and floral still-lifes were among his favorite subjects. This composition, with its boldly outlined fruit, curving silhouette of flowers, and lavishly brushed background, reflects his growing interest in the relationship of shapes and surface pattern. Emphasis on the edges and positions of the fruit also reveals his respect for the still-lifes of Paul Cé zanne.
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