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拍品专文
Christine Lenoir and Maria de la Ville Fromoit have confirmed the authenticity of this painting.
Henri Lebasque's work celebrates the beauty of the everyday, taking as its subject his wife and daughters, gardens and interiors. With his marriage to Catherine and the birth of Marthe in 1894 and Hélène ('Nono') in 1901, he had found the subject to which he would always return, whilst stylistically it was the light of the South of France which was as much a decisive influence on Lebasque's work as the Fauvism of Matisse, Marquet and Dufy. Indeed it is in the bright light of the Midi that he most successfully combines this intimisme with the powerful colourism for which he is best known.
After his first visit to Manguin's house with its view Saint-Tropez in 1906, which introduced the vibrant play of light and colour that characterise his work after that date, he returned regularly to Saint-Tropez, Sanary, Sainte-Maxime, Cannes, and in 1923, the year of execution of the present work, stayed in Le Pradet. Marthe Lebasque recalls her father's contentment at this time; 'He had a happy disposition, he was content in the middle of his family. He was happy about painting...He adored us forming a happy image. He felt that very strongly, and conveyed that image with such strength in his paintings' (quoted in exh. cat. Lebasque, 1865-1937, San Francisco 1986, p. 113).
Henri Lebasque's work celebrates the beauty of the everyday, taking as its subject his wife and daughters, gardens and interiors. With his marriage to Catherine and the birth of Marthe in 1894 and Hélène ('Nono') in 1901, he had found the subject to which he would always return, whilst stylistically it was the light of the South of France which was as much a decisive influence on Lebasque's work as the Fauvism of Matisse, Marquet and Dufy. Indeed it is in the bright light of the Midi that he most successfully combines this intimisme with the powerful colourism for which he is best known.
After his first visit to Manguin's house with its view Saint-Tropez in 1906, which introduced the vibrant play of light and colour that characterise his work after that date, he returned regularly to Saint-Tropez, Sanary, Sainte-Maxime, Cannes, and in 1923, the year of execution of the present work, stayed in Le Pradet. Marthe Lebasque recalls her father's contentment at this time; 'He had a happy disposition, he was content in the middle of his family. He was happy about painting...He adored us forming a happy image. He felt that very strongly, and conveyed that image with such strength in his paintings' (quoted in exh. cat. Lebasque, 1865-1937, San Francisco 1986, p. 113).