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拍品專文
The present painting possesses a poetic tonality and effect of light that attests to Le Sidaner's early association with the Symbolist movement, while the high-keyed palette, subtly worked contrasts and painterly application of pigment owed its debt to Impressionism. This dual aspect of his art was touched on by the critic Camille Mauclair, who wrote: "born out of Impressionism, [Le Sidaner] is as much the son of Verlaine than of the snowscenes of Monet" (Henri Le Sidaner, Paris, 1928, p. 12).
A Symbolist at heart but an Impressionist in practice, "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" (fig. 1) (Henri Le Sidaner: A magical Impressionist, Munich, 2009, p. 34).
Neige depicts Pont-Aven, a Brittany milling town popular with artists such as Paul Gauguin, Emile Bernard and Paul Sérusier. Apart from the metropolises of Paris and London, Le Sidaner was attracted to the atmospheric small towns in Normandy, Brittany, and the Côte d'Azur, whose old buildings and architecture were even then being slowly threatened with extinction. He often depicted these magical old towns in twilight, masterfully capturing the atmosphere of the fading evening light, in which the gaslights in windows and forms on the stones seem to shimmer and dissolve. The landscapes, such as the present work, painted at Pont-Aven between 1913 and 1915 represent the culmination of Le Sidaner's use of the crepuscular palette, and signify one of his main contributions to the history of painting.
The present work was acquired by the grandfather of the present owner by 1940, and has remained in the family's collection since that time.
(fig. 1) Claude Monet, La Cathédrale de Rouen. Effet de soleil, fin de journée, 1892. Musée Marmottan Monet, Paris.
A Symbolist at heart but an Impressionist in practice, "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" (fig. 1) (Henri Le Sidaner: A magical Impressionist, Munich, 2009, p. 34).
Neige depicts Pont-Aven, a Brittany milling town popular with artists such as Paul Gauguin, Emile Bernard and Paul Sérusier. Apart from the metropolises of Paris and London, Le Sidaner was attracted to the atmospheric small towns in Normandy, Brittany, and the Côte d'Azur, whose old buildings and architecture were even then being slowly threatened with extinction. He often depicted these magical old towns in twilight, masterfully capturing the atmosphere of the fading evening light, in which the gaslights in windows and forms on the stones seem to shimmer and dissolve. The landscapes, such as the present work, painted at Pont-Aven between 1913 and 1915 represent the culmination of Le Sidaner's use of the crepuscular palette, and signify one of his main contributions to the history of painting.
The present work was acquired by the grandfather of the present owner by 1940, and has remained in the family's collection since that time.
(fig. 1) Claude Monet, La Cathédrale de Rouen. Effet de soleil, fin de journée, 1892. Musée Marmottan Monet, Paris.