Impressionist painting: its genesis and developmentDewhurst, Wynford
History
Impressionist painting: its genesis and development
Dewhurst, Wynford
Artists -- Portraits; Impressionism (Art)
A SUNLIT HOUSE · EMILE CLAUS
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He is a man who avoids crowds and the distracting clamour of humanity,
loving to work in such dead cities as Bruges, or the peaceful
countryside in the neighbourhood of Beauvais. No modern artist has
better expressed on canvas the words of the great Millet. “When you
paint a picture, whether the subject be a house, a plain, the ocean, or
the sky, remember always the presence of man. Think how his joys and
sorrows have been intermixed in these landscapes. An inner voice speaks
of his inquietude and turmoils. Humanity’s whole existence is conjured
up. In painting a landscape think of man.”
Le Sidaner has many affinities to Pointelin, Carrière, and Whistler.
They each have sought harmonies of line and colour, and though distinct
in personality and unlike in methods, they have produced wonderfully
similar effects. One of the most impressive of Le Sidaner’s works is _La
Table_ in the Luxembourg. Here is the unmistakable Impressionist
technique. In the courtyard of a country house is spread a table, white
with napery, upon which stands a glowing opalescent lamp. A calm summer
moon diffuses a gentle light over the whole scene. No human figures
disturb the peaceful atmosphere, yet the sentiment of their presence
pervades the place. The painting is a little masterpiece of its kind.
The first canvas exhibited at the Champs-Élysées in 1887 was entitled
_After Church_. Since that time he has exhibited year after year, the
subjects of his pictures being well explained by their French titles:
_La Promenade des Orphelines_, _Communion in Extremis_, _Benediction de
la Mer_ (1891), _Jeune fille Hollandaise_ (1892), _L’autel des
Orphelines_ (1893), _Départ de Tobie_ (1894), _Les Promis_, and _Les
Vieilles_ (1895). In 1900 he exhibited a notable collection of pictures
of Bruges.
Le Sidaner paints a world of dreams. No better description of his work
can be found than in the words of Moore:
One of those passing rainbow dreams,
Half light, half shade, which fancy’s beams
Paint on the fleeting mists that roll,
In trance or slumber, round the soul.
Public-domain text, read in full here on John Shaqi.
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