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Lot Essay
Le jardin depicts the artist's niece, Annette Roussel, playing at La montagne, the house rented by Ker-Xavier Roussel, Vuillard's Nabis colleague. The other child might well be Michel, Paul Ranson's son.
'In one thing Vuillard does not deviate in his decorative panels from his small paintings - the intimacy of his subject matter. His park scenes have a curious quality of the indoors about them, so enclosed and sheltered are the spaces he describes, so lacking in movement or drama are the incidents he observes - figures among the trees, almost as the tree themselves, a nursemaid with her charges, a woman reading in a garden, figures in a room, and around a piano. Here he presents the quiet, ordinary relationships of the animate and the inanimate, the fusion of person and thing until both become one, and every shape, every accent merges into a sustained tapestry-like rhythm' (A. C. Ritchie, Edouard Vuillard, New York, 1954, p. 22).
Le jardin was purchased before 1935 from Galerie Bernheim-Jeune by Henri Canonne, one of the greatest patrons of the arts between the Wars. His collection contained fine examples of work by Monet, #aezanne, Bonnard and Cross (see lots 28 and 35).
The present work will be included in the forthcoming Edouard Vuillard catalogue raisonn currently being prepared by Antoine Salomon.
'In one thing Vuillard does not deviate in his decorative panels from his small paintings - the intimacy of his subject matter. His park scenes have a curious quality of the indoors about them, so enclosed and sheltered are the spaces he describes, so lacking in movement or drama are the incidents he observes - figures among the trees, almost as the tree themselves, a nursemaid with her charges, a woman reading in a garden, figures in a room, and around a piano. Here he presents the quiet, ordinary relationships of the animate and the inanimate, the fusion of person and thing until both become one, and every shape, every accent merges into a sustained tapestry-like rhythm' (A. C. Ritchie, Edouard Vuillard, New York, 1954, p. 22).
Le jardin was purchased before 1935 from Galerie Bernheim-Jeune by Henri Canonne, one of the greatest patrons of the arts between the Wars. His collection contained fine examples of work by Monet, #aezanne, Bonnard and Cross (see lots 28 and 35).
The present work will be included in the forthcoming Edouard Vuillard catalogue raisonn currently being prepared by Antoine Salomon.