Reproduction Scandinavian late 19th century Artist’s frame, water gilded
verso: L’eglise de village
This burning, autumnal still life, saturated in golds, oranges and reds, explains why Ramah’s art can be described as fauviste. It is glowing and vibrant with life, completely removed from his delicate watercolours of flowers and the book illustrations which exploit chiaroscuro to dramatic effect. It has something in common with still life works by Rik Wouters, almost his contemporary; but it is darker, richer, more incendiary and mysterious than anything Wouters painted. The forms of fruit-bowl, coffee pot and table are perfectly realized and sited in three-dimensional space; the composition is tranquil; but the background has dissolved into a landscape of sunshine and fire in which the gods of spring and autumn appear to contend. Painted on the other side of the board is a landscape featuring a village which rises amongst trees from a hollow between rolling hills. It is completely different from the still life with which it is paired, painted in sombre olives, ochres, and blue-greys; however, the hills have their own internal significance, and appear to be instinct with a shifting, flowing life.