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拍品专文
Le Sidaner first visited Gerberoy in March 1901 and was immediately taken with the tranquility of his surroundings. Like Claude Monet, who found limitless inspiration from his carefully constructed garden at Giverny, Le Sidaner devoted ceaseless attention to his home and its environs, enlarging the buildings and designing all aspects of the improvements himself. These enhancements, particularly those centered around the flower garden in the courtyard in which he attempted to create harmony between the plants and the buildings, provided the artist with a wealth of inspiration and a crucial source of new subject matter and, like Monet at Giverny, Le Sidaner's art became inextricably linked with his house and gardens at Gerberoy.
Writings on Le Sidaner tend to focus on the silence and subtle play of anticipation exemplified in his work, and his contemporary Paul Signac characterized Le Sidaner's entire career as a progression towards the elimination of human figures: "His oeuvre displays a taste for tender, soft and silent atmospheres. Gradually, he even went so far as to eliminate all human presence from his pictures, as if he feared that the slightest human form might disturb their muffled silence" (quoted in Y. Farinaux-Le Sidaner, op. cit., p. 31). The sense of understated mystery and gentle poetry achieved in the present painting was Le Sidaner's artistic inheritance from his Symbolist-inspired early years, while the highly-keyed palette, subtly worked contrasts and painterly application of pigment owe a clear debt to Impressionism.
The setting of the present painting possesses an air of refinement, and it is obvious that great care has been taken in the framing of the composition, the precise arrangement of which draws the viewer's eye from the interior arrangement through the doorway to the garden. Le Sidaner has taken the opportunity to draw the outdoors in, by repeating the sun-dappled landscape in the looking glass to the left of the foyer. The contrasting hues provoke an emotional effect, and illustrate the artist's ability to capture the approaching dusk. It is the hour that critic Camille Mauclair has evocatively termed "l'heure Le Sidaner" (quoted in R. Le Sidaner, "Le peintre Henri Le Sidaner tel que je l'ai connu," Henri Le Sidaner, exh. cat., Musée Marmottan, Paris, 1989, p. 11).
Writings on Le Sidaner tend to focus on the silence and subtle play of anticipation exemplified in his work, and his contemporary Paul Signac characterized Le Sidaner's entire career as a progression towards the elimination of human figures: "His oeuvre displays a taste for tender, soft and silent atmospheres. Gradually, he even went so far as to eliminate all human presence from his pictures, as if he feared that the slightest human form might disturb their muffled silence" (quoted in Y. Farinaux-Le Sidaner, op. cit., p. 31). The sense of understated mystery and gentle poetry achieved in the present painting was Le Sidaner's artistic inheritance from his Symbolist-inspired early years, while the highly-keyed palette, subtly worked contrasts and painterly application of pigment owe a clear debt to Impressionism.
The setting of the present painting possesses an air of refinement, and it is obvious that great care has been taken in the framing of the composition, the precise arrangement of which draws the viewer's eye from the interior arrangement through the doorway to the garden. Le Sidaner has taken the opportunity to draw the outdoors in, by repeating the sun-dappled landscape in the looking glass to the left of the foyer. The contrasting hues provoke an emotional effect, and illustrate the artist's ability to capture the approaching dusk. It is the hour that critic Camille Mauclair has evocatively termed "l'heure Le Sidaner" (quoted in R. Le Sidaner, "Le peintre Henri Le Sidaner tel que je l'ai connu," Henri Le Sidaner, exh. cat., Musée Marmottan, Paris, 1989, p. 11).