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
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, 1862-1939
Provenance:
Mr. Hamburger, Paris
Private Collection
Literature:
Yann Farinaux-LeSidaner, Le Sidaner, L’oeuvre peint et grave, Paris, 1989, no. 1248, illustrated
Henri Le Sidaner was born on the island of Mauritius in 1862. At the age of ten his family moved to Dunkirk, and in 1880 Le Sidaner left for Paris, where in 1882 he was admitted to the Ecole des Beaux-Arts. He studied under Alexandre Cabanel until 1885, during which time he discovered the work of Edouard Manet whose Bar aux Folies Bergeres was to have a profound influence on his artistic development. Cabanel was strongly opposed to the work of the Impressionists which led Le Sidaner to break away from the strict regime of his atelier and move to Etaples where he began to develop the individual technique which was to become his own personal style in years to come.
