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Lot Essay
Women Weaving and Spinning is an incredible work by the Indo-European artist Adrien-Jean Le Mayeur de Merprès, its portrayal of light, colour and beauty is unique and is what set the artist apart from others whose quests across the globe have been found in art. Le Mayeur’s signature style of impressionist spontaneity shares the vision of a heavenly tropical paradise deeply stirred by traditional temple rituals, cultural practices, music, dance and craftsmanship.
Le Mayeur may be referenced as a typical example of a so-called traveller-painter in the tradition of famous predecessors like Italy- goers in the 17th century, the Grand Tour painters in the 18th and 19th centuries but foremost it was Gauguin, who left France for Martinique and Tahiti, has been his source for inspiration. In 1932, Le Mayeur's search for novel subject matter landed him in the luscious landscape of Bali, Indonesia where his artistic legacy remains strong. He thoroughly enjoyed painting elegant Balinese women performing activities that reflected their cultural roles and this particular subject matter is eptimoised in Women Weaving and Spinning.
Le Mayeur’s depiction of grace and languor can be attributed to his muse, Ni Wayan Pollok Tjoeglik, a Legong dancer whom he later married. He excelled at painting Balinese women in the realms of work and family life, and often borrowed the form, elegance and finesse of his beloved Ni Pollock. This is reflected in Women Weaving and Spinning where a pair of ladies are weaving in the foreground, and another pair is spinning in the background; two are facing the viewer, while the other two have their backs turned to the viewer. The composition isan indoor scene yet with an outdoor garden view at the back, making it a noteworthy aspect of the work. The intended perspective, coupled with the artist’s warm colour palette and semi-impressionistic style infuses the painting with vibrancy and sensuality. Intricate details of natural sunlight falling over the silhouette of the ladies, and the trademark colours of purples, pinks and red dotted throughout the painting are immediately striking.
The late English novelist and aeronautical engineer, Nevil Shute Norway visited Le Mayeur’s home in Bali. He mentioned, ‘We went once or twice to a place on the other side of the strip called Sanur, where a Belgian artist was married to a very fine Balinese woman. I think that was the most wonderful house I have ever been in, the walls covered with paintings of the Balinese and their way of life, and full of Balinese young men and women so that it was difficult to say in memory which of the scenes remembered from that were real and which were painted.’
With reference to the book Adrien Jean Le Mayeur de Merprès: Painter, Traveller, the present work would be categorised under the later Balinese period between 1937 til the outbreak of the Second World War. This is based on a stylistic point of view where Ni Pollok was often featured. In fact, , there is a black and white photograph of Ni Pollok at her spinning wheel illustrated in the book (from the collection of Paul de Bont, The Hague, the Netherlands) and there is an uncanny resemblance to the lady in the middle of the painting. During this important period, the artist’s approach to paint was advanced with details like flowers and leaves playing a more prominent role. The present work was a narrative Le Mayeur sought to express, and in Women Weaving and Spinning he has depicted his love for Balinese culture in the best way possible.
Le Mayeur may be referenced as a typical example of a so-called traveller-painter in the tradition of famous predecessors like Italy- goers in the 17th century, the Grand Tour painters in the 18th and 19th centuries but foremost it was Gauguin, who left France for Martinique and Tahiti, has been his source for inspiration. In 1932, Le Mayeur's search for novel subject matter landed him in the luscious landscape of Bali, Indonesia where his artistic legacy remains strong. He thoroughly enjoyed painting elegant Balinese women performing activities that reflected their cultural roles and this particular subject matter is eptimoised in Women Weaving and Spinning.
Le Mayeur’s depiction of grace and languor can be attributed to his muse, Ni Wayan Pollok Tjoeglik, a Legong dancer whom he later married. He excelled at painting Balinese women in the realms of work and family life, and often borrowed the form, elegance and finesse of his beloved Ni Pollock. This is reflected in Women Weaving and Spinning where a pair of ladies are weaving in the foreground, and another pair is spinning in the background; two are facing the viewer, while the other two have their backs turned to the viewer. The composition isan indoor scene yet with an outdoor garden view at the back, making it a noteworthy aspect of the work. The intended perspective, coupled with the artist’s warm colour palette and semi-impressionistic style infuses the painting with vibrancy and sensuality. Intricate details of natural sunlight falling over the silhouette of the ladies, and the trademark colours of purples, pinks and red dotted throughout the painting are immediately striking.
The late English novelist and aeronautical engineer, Nevil Shute Norway visited Le Mayeur’s home in Bali. He mentioned, ‘We went once or twice to a place on the other side of the strip called Sanur, where a Belgian artist was married to a very fine Balinese woman. I think that was the most wonderful house I have ever been in, the walls covered with paintings of the Balinese and their way of life, and full of Balinese young men and women so that it was difficult to say in memory which of the scenes remembered from that were real and which were painted.’
With reference to the book Adrien Jean Le Mayeur de Merprès: Painter, Traveller, the present work would be categorised under the later Balinese period between 1937 til the outbreak of the Second World War. This is based on a stylistic point of view where Ni Pollok was often featured. In fact, , there is a black and white photograph of Ni Pollok at her spinning wheel illustrated in the book (from the collection of Paul de Bont, The Hague, the Netherlands) and there is an uncanny resemblance to the lady in the middle of the painting. During this important period, the artist’s approach to paint was advanced with details like flowers and leaves playing a more prominent role. The present work was a narrative Le Mayeur sought to express, and in Women Weaving and Spinning he has depicted his love for Balinese culture in the best way possible.