French, 1861-1944

Provenance:
Private collection, France

In 1878 Achille Laugé studied art in Toulouse, while earning his diploma to become a pharmacist. Three years later, changing his professional orientation, he went to Paris to study painting at the Ecole des Beaux-Arts. It is there that he made the acquaintance of Aristide Maillol and Bourdelle. They were fellow students of Alexandre Cabanel and of Jean Paul Laurens. Leaving Paris in 1888 for Carcassonne, he opened an atelier where numerous friendships were born. Immediately after his studies in Paris he adopted the divisionist brushstroke of the Neo-Impressionists, which he applied with greater or lesser rigor for the duration of his career. He exhibited three paintings at the Salon des Independants of 1894, and in the same year partook in an exhibition in Toulouse, which included Bonnard, Denis, Sérusier, Toulouse-Lautrec and Vuillard.

A long and rich artistic career, in 1900 Laugé had an important composition refused at the Salon de la Nationale. His first personal exhibition was in Paris in 1907, followed by six exhibits between 1911 and 1913 in Paris and Toulouse. He was commissioned by Gobelin for tapestry designs. In different periods he painted in Alet, Colliure, and later again in Paris where his atelier in 1932 was neighboring Bourdelle.

Retrospectives of his oeuvre were held in 1958, Musée de Limoux, 1961, Musée des Augustins, Toulouse, 1990, Musée de l’Annonciade de St. Tropez and Musée des Beaux-Arts de Carcassonne. In 1968, he was represented at the exhibition consecrated to Neo-Impressionism at the Guggenheim Museum, New York.

“Landscape with Flowering Apple Blossom Tree” dates from Laugé’s extremely rare early paintings which are true Neo-Impressionist works. The delicacy and almost sublime minimalist aesthetic of this picture echoes that of Seurat and Signac, and yet still there is a very unique presence to this painting, an influence of Japonisme and an originality of composition and palette distinguish it as a great pointilist work.

French, 1862-1939

After spending the first years of his life in the West Indies, Henri Le Sidaner returned to France with his family in 1872. He began art studies in 1877 with history painter Alexandre Desmit in Dunkerque and in 1882 entered Alexandre Cabanel's atelier at the Ecole des Beaux-Arts in Paris. From 1882 to 1893, Le Sidaner often retreated to Etaples. The stern coastal landscape of the northern town appealed to the young artist, who suffered under the Ecole's dictum of copying pictures in the Louvre. Le Sidaner explained that "Etaples-that is to say, Nature-revived me," and that city provided many themes for his plein-air works.

Le Sidaner began exhibiting at the Salon des Artistes Francais in 1887. His naturalistic figural groups set in Etaples were well received and won him trips to Italy and Holland in 1891. Three years later, he exhibited Impressionists works influenced by Monet at the less conservative Societe Nationale des Beaux-Arts. From around 1896 to the end of the century, Le Sidaner painted Symbolist themes where pensive, virginal women dressed in white inhabit dimly lighted gardens.

In these paintings, which recall early canvases of his friend Henri Martin, Le Sidaner initiated the aura of mystery and the divisionist technique characteristic of his late work.

After the turn of the century, Le Sidaner rarely portrayed the human figure. Instead, he depicted provincial setting in Bruges, Beauvais, and Chartres and urban areas such as London and Venice. Images of the gardens and interior of his home in Gerberoy, where he resided from 1901 or 1902, also are prevalent in later works. He did, however, often imply human presence in a set table or an open book, adding to the intimate yet mysterious quality of his painting.

Le Sidaner Fenetre sur le Port cont…

Like his close friends Henri Martin and Ernest Laurent, Le Sidaner was associated with Neo-Impressionism only tenuously and tempered its techniques with an otherwise traditional approach. He enjoyed continued favor and from 1897 was regularly honored by one-man shows not only in Paris, but also in London, Brussels, and the United States. In 1930 he was made a professor at the Academie des Beaux-Arts, replacing Ernest Laurent, and in 1937 was named its president.

Museum collections: Phillips Collection, Washington D.C.; Detroit Intsitute of the Arts;

Musee D’Art Modern, Paris; Museum of Modern Art, Rome; Nelson Atkins Museum, Kansas City; Ashmolean Musem, Oxford, England; Phoenix Art Musem, Phoenix, AZ; Fine Arts Museums of San Francisco; The Tate Collection, England

French, 1862-1939

Provenance:
Galerie Georges Petit, Paris
Brasler Company, Milwaukee
Findlay Gallery, Chicago

Exhibited:
Paris, Salon de la Societé Nationale de Beaux Arts, 1906, no. 1
Prague, Exposition Le Sidaner, 1907
Boston, Museum of Fine Arts, Societé Nouvelles, 1911, no. 95

Literature:
Farinaux, Le Sidaner, l’oevre paint et grave, Paris 1989, p. 108, no. 215

After spending the first years of his life in the West Indies, Henri Le Sidaner returned to France with his family in 1872. He began art studies in 1877 with history painter Alexandre Desmit in Dunkerque and in 1882 entered Alexandre Cabanel's atelier at the Ecole des Beaux-Arts in Paris. From 1882 to 1893, Le Sidaner often retreated to Etaples. The stern coastal landscape of the northern town appealed to the young artist, who suffered under the Ecole's dictum of copying pictures in the Louvre. Le Sidaner explained that "Etaples-that is to say, Nature-revived me," and that city provided many themes for his plein-air works.

Le Sidaner began exhibiting at the Salon des Artistes Francais in 1887. His naturalistic figural groups set in Etaples were well received and won him trips to Italy and Holland in 1891. Three years later, he exhibited Impressionists works influenced by Monet at the less conservative Societe Nationale des Beaux-Arts. From around 1896 to the end of the century, Le Sidaner painted Symbolist themes where pensive, virginal women dressed in white inhabit dimly lighted gardens. In these paintings, which recall early canvases of his friend Henri Martin, Le Sidaner initiated the aura of mystery and the divisionist technique characteristic of his late work.

After the turn of the century, Le Sidaner rarely portrayed the human figure. Instead, he depicted provincial setting in Bruges, Beauvais, and Chartres and urban areas such as London and Venice. Images of the gardens and interior of his home in Gerberoy, where he resided from 1901 or 1902, also are prevalent in later works. He did, however, often imply human presence in a set table or an open book, adding to the intimate yet mysterious quality of his painting.

Like his close friends Henri Martin and Ernest Laurent, Le Sidaner was associated with Neo-Impressionism only tenuously and tempered its techniques with an otherwise traditional approach. He enjoyed continued favor and from 1897 was regularly honored by one-man shows not only in Paris, but also in London, Brussels, and the United States. In 1930 he was made a professor at the Academie des Beaux-Arts, replacing Ernest Laurent, and in 1937 was named its president.

Museum collections: Phillips Collection, Washington D.C.; Detroit Intsitute of the Arts;
Musee D’Art Modern, Paris; Museum of Modern Art, Rome; Nelson Atkins Museum, Kansas City; Ashmolean Musem, Oxford, England; Phoenix Art Musem, Phoenix, AZ; Fine Arts Museums of San Francisco; The Tate Collection, England

French, 1862-1939

Provenance:
Walter Klinkhoff Gallery, Montreal
Private Collection

Exhibited:
April 1948, Rétro Le Sidaner, Musée Galliéra, Paris, no. 20
February 1952, Tables et fenétres by H. Le Sidaner, Galerie Lorenceau, Paris

Literature:
Yann Farinaux-Le Sidaner, Le Sidaner, l’oevre peint et grave, Paris, 1989, no. 721, illustrated

After spending the first years of his life in the West Indies, Henri Le Sidaner returned to France with his family in 1872. He began art studies in 1877 with history painter Alexandre Desmit in Dunkerque and in 1882 entered Alexandre Cabanel's atelier at the Ecole des Beaux-Arts in Paris. From 1882 to 1893, Le Sidaner often retreated to Etaples. The stern coastal landscape of the northern town appealed to the young artist, who suffered under the Ecole's dictum of copying pictures in the Louvre. Le Sidaner explained that "Etaples-that is to say, Nature-revived me," and that city provided many themes for his plein-air works.

Le Sidaner began exhibiting at the Salon des Artistes Francais in 1887. His naturalistic figural groups set in Etaples were well received and won him trips to Italy and Holland in 1891. Three years later, he exhibited Impressionists works influenced by Monet at the less conservative Societe Nationale des Beaux-Arts. From around 1896 to the end of the century, Le Sidaner painted Symbolist themes where pensive, virginal women dressed in white inhabit dimly lighted gardens. In these paintings, which recall early canvases of his friend Henri Martin, Le Sidaner initiated the aura of mystery and the divisionist technique characteristic of his late work.

After the turn of the century, Le Sidaner rarely portrayed the human figure. Instead, he depicted provincial setting in Bruges, Beauvais, and Chartres and urban areas such as London and Venice. Images of the gardens and interior of his home in Gerberoy, where he resided from 1901 or 1902, also are prevalent in later works. He did, however, often imply human presence in a set table or an open book, adding to the intimate yet mysterious quality of his painting.

Like his close friends Henri Martin and Ernest Laurent, Le Sidaner was associated with Neo-Impressionism only tenuously and tempered its techniques with an otherwise traditional approach. He enjoyed continued favor and from 1897 was regularly honored by one-man shows not only in Paris, but also in London, Brussels, and the United States. In 1930 he was made a professor at the Academie des Beaux-Arts, replacing Ernest Laurent, and in 1937 was named its president.

Museum collections: Phillips Collection, Washington D.C.; Detroit Intsitute of the Arts;
Musee D’Art Modern, Paris; Museum of Modern Art, Rome; Nelson Atkins Museum, Kansas City; Ashmolean Musem, Oxford, England; Phoenix Art Musem, Phoenix, AZ; Fine Arts Museums of San Francisco; The Tate Collection, England

French, 1861-1944

Provenance:
Private collection, France

In 1878 Achille Laugé studied art in Toulouse, while earning his diploma to become a pharmacist. Three years later, changing his professional orientation, he went to Paris to study painting at the Ecole des Beaux-Arts. It is there that he made the acquaintance of Aristide Maillol and Bourdelle. They were fellow students of Alexandre Cabanel and of Jean Paul Laurens. Leaving Paris in 1888 for Carcassonne, he opened an atelier where numerous friendships were born. Immediately after his studies in Paris he adopted the divisionist brushstroke of the Neo-Impressionists, which he applied with greater or lesser rigor for the duration of his career. He exhibited three paintings at the Salon des Independants of 1894, and in the same year partook in an exhibition in Toulouse, which included Bonnard, Denis, Sérusier, Toulouse-Lautrec and Vuillard.

A long and rich artistic career, in 1900 Laugé had an important composition refused at the Salon de la Nationale. His first personal exhibition was in Paris in 1907, followed by six exhibits between 1911 and 1913 in Paris and Toulouse. He was commissioned by Gobelin for tapestry designs. In different periods he painted in Alet, Colliure, and later again in Paris where his atelier in 1932 was neighboring Bourdelle.

Retrospectives of his oeuvre were held in 1958, Musée de Limoux, 1961, Musée des Augustins, Toulouse, 1990, Musée de l’Annonciade de St. Tropez and Musée des Beaux-Arts de Carcassonne. In 1968, he was represented at the exhibition consecrated to Neo-Impressionism at the Guggenheim Museum, New York.

“Landscape with Flowering Apple Blossom Tree” dates from Laugé’s extremely rare early paintings which are true Neo-Impressionist works. The delicacy and almost sublime minimalist aesthetic of this picture echoes that of Seurat and Signac, and yet still there is a very unique presence to this painting, an influence of Japonisme and an originality of composition and palette distinguish it as a great pointilist work.