1912
Oil on canvas
55.88 cm (22 in.) x 64.77 cm (25.5 in.)
Amgueddfa Cymru, Cardiff, United Kingdom.
Hills and mountains roll out across the canvas. The green hill of the foreground is dotted with goats, their faces turned away and looking out at the view. To the left, the hill descends into yellow, more brown and green defining the mountains further away. A blue sky opens above the horizon, white snow-capped mountains in the distant background.
What does it mean?
We’re coming back to landscape, my friends! What better time to spend some time looking at a beautiful, peaceful view of the outdoors, right?
I remember coming across this in Wales and having a sense of recognition. I’m from the Western US, and something about the scene felt weirdly familiar. The camp that I work at also has a strange obsession that I cannot explain with goats, so I was immediately drawn to them at first. Yes, I sent a picture of this painting to a friend just because it had goats in it. Moving on.
After exclaiming (mostly in my head and maybe only a little bit of audible squealing) at the goats, I kept looking as I noticed the depth that the artist had created. The use of light and shadow emphasize the space between each mountain peak, even though we are able to see so many of them in this one point of view. The colors create layers of plants and life that were painted in brushy, indistinct gestures so as to make them unidentifiable. The yellow hills to the left have tiny trees or shrubs, so small and far away to appear insignificant. On the other hand, the mountains almost feel more imposing with the greater distance between us and them.
The goats that litter the foreground primarily look away from us the viewer, and the few that look back lack eyes or specific facial expression to imply how we are viewed. As the viewer, are we invading the space of these goats in the mountains? Are we welcome additions to the space? Are they indifferent to our presence, to that of the artist? I like to think they are a little indifferent based on the distance between our viewpoint and the goats as subjects. But I also hope there was at least one goat who tried to eat some of the canvas or other materials Sargent had with him while sketching or even painting this canvas outside, en plein air.
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