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拍品专文
Painted in Gerberoy in 1913, La Maison possesses a poetic tonality which attests to Le Sidaner’s early association with the Symbolist movement. The present work, with its understated mystery and gentle poetry, exhibits key elements of the most celebrated works from his mature oeuvre.
Having first visited the town of Gerberoy in 1901, the artist was immediately taken with the tranquility of its setting. Le Sidaner's art was inextricably linked with his house and gardens here. Like Monet, who found limitless inspiration from his carefully constructed garden at Giverny, Le Sidaner devoted ceaseless attention to the grounds surrounding his home, a lovingly restored monastery. "Parallels to the Impressionism of Claude Monet can actually be found not only in Le Sidaner's style of painting, but also in his choice of motifs such as close-up views of peaceful garden corners, façades of buildings and reflections in still waters. Moreover, his repeated depictions of the same motif at different times of day or year...engendered ever-new variations of form and light. As a result, Le Sidaner's façades of Chartres, Beauvais, Bruges and Venice can be readily compared with Monet's play of light on the stone fronts of Rouen cathedral" (Henri Le Sidaner: A magical Impressionist, Munich, 2009, p. 34).
The present work is imbued with such an air of stillness and serenity, it is clear that great care has been taken in the framing of the composition. Dictating the balanced rhythm of the painting, vibrant elements call and respond to each other across the canvas. The deckled lavender highlights in the cobblestone courtyard echo the cascading flora of the trellises lining the walls of the château. Potted arrangements of plump, blushing floral arrangements, delicately placed across the courtyard compliment the glowing amber light radiating from the window. Le Sidaner masterfully captured the gentle atmosphere of the fading evening light, casting a warm glow across the scene.
Having first visited the town of Gerberoy in 1901, the artist was immediately taken with the tranquility of its setting. Le Sidaner's art was inextricably linked with his house and gardens here. Like Monet, who found limitless inspiration from his carefully constructed garden at Giverny, Le Sidaner devoted ceaseless attention to the grounds surrounding his home, a lovingly restored monastery. "Parallels to the Impressionism of Claude Monet can actually be found not only in Le Sidaner's style of painting, but also in his choice of motifs such as close-up views of peaceful garden corners, façades of buildings and reflections in still waters. Moreover, his repeated depictions of the same motif at different times of day or year...engendered ever-new variations of form and light. As a result, Le Sidaner's façades of Chartres, Beauvais, Bruges and Venice can be readily compared with Monet's play of light on the stone fronts of Rouen cathedral" (Henri Le Sidaner: A magical Impressionist, Munich, 2009, p. 34).
The present work is imbued with such an air of stillness and serenity, it is clear that great care has been taken in the framing of the composition. Dictating the balanced rhythm of the painting, vibrant elements call and respond to each other across the canvas. The deckled lavender highlights in the cobblestone courtyard echo the cascading flora of the trellises lining the walls of the château. Potted arrangements of plump, blushing floral arrangements, delicately placed across the courtyard compliment the glowing amber light radiating from the window. Le Sidaner masterfully captured the gentle atmosphere of the fading evening light, casting a warm glow across the scene.