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Lot Essay
Van Rysselberghe moved to Paris in the late 1890s where he stayed for the remainder of his life. During that time his art changed and he started to apply a larger, more square and varied brushstroke, turning increasingly to painting open air scenes and nudes in a more relaxed, impressionist method. The pointillist technique which he applied in his earlier works was largely inspired after he saw Seurat's La Grande Jatte at the 8th and final Impressionist Exhibition of 1886.
Marine compositions were particularly popular with the artist largely because the painting of water demanded the greatest technical virtuosity. Van Rysselberghe succesfully evokes the serene appearance of a clear, sunny day with the use of a cool palette of blues and yellows adding the warm tones with hues of orange. The horizontal lines of the sand, sea and sky are balanced by the vertical elements of the trees and the figures.
The present composition painted in 1926 is a quintessential example of his late works. It displays a great mastery of brushwork, skilfully observing the reflections of the water and the sunshine, using the artist's favourite light colours. He once said that when he saw dark paintings, it kept him awake and even got symptoms of seasickness!
Ronald Feltkamp has kindly confirmed the authenticity of this painting.
Pascal de Sadeleer and Olivier Bertrand will include this painting in their forthcoming Van Rysselberghe catalogue raisonn being prepared by the Belgian Art Research Institute.
Marine compositions were particularly popular with the artist largely because the painting of water demanded the greatest technical virtuosity. Van Rysselberghe succesfully evokes the serene appearance of a clear, sunny day with the use of a cool palette of blues and yellows adding the warm tones with hues of orange. The horizontal lines of the sand, sea and sky are balanced by the vertical elements of the trees and the figures.
The present composition painted in 1926 is a quintessential example of his late works. It displays a great mastery of brushwork, skilfully observing the reflections of the water and the sunshine, using the artist's favourite light colours. He once said that when he saw dark paintings, it kept him awake and even got symptoms of seasickness!
Ronald Feltkamp has kindly confirmed the authenticity of this painting.
Pascal de Sadeleer and Olivier Bertrand will include this painting in their forthcoming Van Rysselberghe catalogue raisonn being prepared by the Belgian Art Research Institute.