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Lot Essay
This work will be included in the forthcoming Van Rysselberghe catalogue raisonné currently being prepared by Olivier Bertrand.
As a fierce proponent of pointillism in the Netherlands, van Rhsselberghe became close with two other painters of the Divisionist movement—Paul Signac and Henri-Edmond Cross. In 1896 he spent two months at Signac's home in Saint-Tropez, and the two artists travelled to the Netherlands together later that year. In 1898, they had a difference of opinion over the development of their art. Van Rysselberghe wanted to concentrate more on nature and move away from what he began to see as a confining technique. The relationship became strained as Van Rysselberghe abandoned the strict division of colours and lengthened his brushstrokes once again.
The artist's relationship with Henri-Edmond Cross never faltered—even after his attempts to distance himself from the movement, he would still spend much time with Cross. From 1904 on, he would often stay at Cross' home in Saint-Clair, and they would explore the Côte d'Azur together. Van Rysselberghe was fascinated by the brilliant light of the Mediterranean coast and the wild countryside around Saint-Clair. The present lot exhibits Van Rysselberghe’s new, freer, less rigorous style which made use of looser and more varied brushstrokes. This painting displays a scintillating use of colour in the landscape—the blue sky pours above the houses, with the vibrant green leaves of the trees shimmering in the sunlight.
As a fierce proponent of pointillism in the Netherlands, van Rhsselberghe became close with two other painters of the Divisionist movement—Paul Signac and Henri-Edmond Cross. In 1896 he spent two months at Signac's home in Saint-Tropez, and the two artists travelled to the Netherlands together later that year. In 1898, they had a difference of opinion over the development of their art. Van Rysselberghe wanted to concentrate more on nature and move away from what he began to see as a confining technique. The relationship became strained as Van Rysselberghe abandoned the strict division of colours and lengthened his brushstrokes once again.
The artist's relationship with Henri-Edmond Cross never faltered—even after his attempts to distance himself from the movement, he would still spend much time with Cross. From 1904 on, he would often stay at Cross' home in Saint-Clair, and they would explore the Côte d'Azur together. Van Rysselberghe was fascinated by the brilliant light of the Mediterranean coast and the wild countryside around Saint-Clair. The present lot exhibits Van Rysselberghe’s new, freer, less rigorous style which made use of looser and more varied brushstrokes. This painting displays a scintillating use of colour in the landscape—the blue sky pours above the houses, with the vibrant green leaves of the trees shimmering in the sunlight.