![]() Henri Le Sidaner (1862–1939), Small Table at Dusk (1921), oil on canvas, 100 x 81.1 cm, Ohara Museum of Art 大原美術館, Kurashiki, Japan. His marks are coarser here, some consisting of quite thick daubs of paint, suggesting that this was more of a sketch than most of his other tables. This table is laid for one, and beyond its balcony is a small bay. When there in 1920, he took the opportunity to paint this view of Table of the Sea, Villefranche-sur-Mer. Like several other artists in the early twentieth century, Le Sidaner visited the Mediterranean coast of France. Image by Didier Descouens, via Wikimedia Commons. Henri Le Sidaner (1862–1939), Table of the Sea, Villefranche-sur-Mer (1920), oil on canvas, 61.4 x 50.2 cm, Fondation Bemberg, Toulouse, France. He continued to paint his established views, including this richly Golden Morning from 1920. Henri Le Sidaner (1862–1939), Golden Morning (1920), media not known, 73 x 60.3 cm, location not known. The leaves have already turned to gold on the creeper covering the wall of the house. His Autumn Table, painted some time in the decade 1910-20, is laid out for two, with a fruit bowl to suit the season as well as drinks, and the façade of a large house, perhaps the artist’s, behind. Henri Le Sidaner (1862–1939), Autumn Table (1910-20), further details not known. Leafy branches provide formally symmetric repoussoir. The Table, Spring from 1913 is an early example, with a range of drinks laid out for one person in the foreground of a gently rolling country landscape in Spring. Henri Le Sidaner (1862–1939), The Table, Spring (1913), oil on canvas, 60.5 x 73.5 cm, location not known. ![]() The perspective projection is unusual in giving the impression that the river is flowing down quite a steep gradient, and as usual its streets are deserted.Īt about this time, Le Sidaner started to paint deserted tables in carefully composed views. Wikimedia Commons.įor this ghostly nocturne of the River in the Moonlight, Quimperlé, from about 1910, Le Sidaner visited this town in Brittany, in the far north-west of France. Henri Le Sidaner (1862–1939), River in the Moonlight, Quimperle (c 1910), further details not known. ![]() In about 1910, Le Sidaner followed in the brushstrokes of the Divisionists in his Fog in the Midi. Image by Rodrigo Fernández, via Wikimedia Commons. Henri Le Sidaner (1862–1939), Fog in the Midi (c 1910), oil on canvas, 73 x 92 cm, Museo de Bellas Artes de Valparaíso, Valparaíso, Chile. This is perhaps his most Impressionist work, with its much wider range of different marks and the rich colours of dawn or dusk. Wikimedia Commons.ĭuring another visit to Britain in 1908, Le Sidaner visited the sixteenth century royal palace at Hampton Court, upriver of the Thames from the city of London, which he painted as Autumn at Hampton Court. Henri Le Sidaner (1862–1939), Autumn at Hampton Court (1908), further details not known. Roses and Wisteria on the House from 1907 is one of the artist’s favourite twilight scenes, here showing the front of his house in the old village of Gerberoy. Henri Le Sidaner (1862–1939), Roses and Wisteria on the House (1907), oil on canvas, 65 x 81 cm, Kawamura Memorial DIC Museum of Art DIC川村記念美術館, Sakura, Japan. Paul’s from the River: Morning Sun in Winter, which may have been inspired by Monet’s series paintings of Rouen Cathedral, although here expressed using Le Sidaner’s distinctive marks. Le Sidaner visited Britain on several occasions, and in 1906-07 painted this view of St. Paul’s from the River: Morning Sun in Winter (1906-07), oil on canvas, 90 x 116 cm, Walker Art Gallery, Liverpool, England. French novellists have a track record of trashing contemporary painters, though, as Émile Zola did of Paul Cézanne. Marcel Proust mentions him in the fourth volume of his series In Search of Lost Time, where the artist is described as being “highly distinguished” but “not great”. Le Sidaner clearly developed a reputation, although perhaps this wasn’t quite what he had aimed for. By the early twentieth century, as I showed in my first article, the French-Mauritian painter Henri Le Sidaner (1862–1939) had developed a particular interest in lighting effects of twilight, expressed in paintings with his distinctive facture of fused fine marks. ![]()
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