Les baraques, Gerberoy

細節

Henri Le Sidaner (1862-1939)
Les baraques, Gerberoy
signed 'Le Sidaner' (lower right)
oil on canvas
49¼ x 59in. (125 x 150cm.)
Painted in 1920

來源

Galerie Georges Petit, Paris (nos. 4814 & 11714).
R. Keller, Paris.
Anon. sale, Hôtel Drouot, Paris, 23 June 1953.
Galerie Bernard Lorenceau, Paris.
Walter P. Chrysler, Jr., New York & Warrentown, VA, by whom acquired from the above in 1954; sale, Sotheby's London, 5 December 1973, lot 47.
O'Hana Gallery, London, by whom acquired at the above sale.
Anon. sale, Sotheby's London, 1 July 1981, lot 171.
Whitford & Hughes, London.
Anon. sale, Sotheby's London, 5 April 1989, lot 131a.
Richard Green, London.
Acquired from the above by the present owner.

出版

Revue de l'Art Ancien et Moderne, March 1925 (illustrated).
C. Mauclair, Henri Le Sidaner, Paris, 1928 (illustrated p. 112).
Y. Farinaux-Le Sidaner, Le Sidaner, L'oeuvre peint et gravé, Paris, 1989, no. 428 (illustrated p. 171).

展覽

Paris, Salon de la Société Nationale des Beaux-Arts, 1920, no. 863.
Pittsburgh, Carnegie Institute, International Exhibition - Salle Le Sidaner, April 1921, no. 200.
Barcelona, H. Martin, E. Laurent, H. Le Sidaner, 1923.
Paris, Galerie Georges Petit, Exposition Le Sidaner - La maison, les heures et les saisons, Feb. 1925, no. 5.
Provincetown, Chrysler Art Museum, The Controversial Century, 1962 ; this exhibition later travelled to Ottawa, National Gallery of Canada.

注意事項

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

拍品專文

Henri Le Sidaner's attachment to la France profonde, his love of his home, and his closeness to the people of Gerberoy are all encapsulated by Les baraques, Gerberoy. Painted with astonishing luminosity, drenched in saturated colour and executed on an ambitious scale, the importance of the present work was such that Le Sidaner selected it to represent him at the Salon of 1920.

The sense of silence and anticipation in the present work - the multi-coloured balloons rising at the centre of the composition, for instance, seem frozen in some sort of suspended animation - are key elements in Le Sidaner's output. Even the vivid baraques, or fair booths, appear to have been temporarily deserted, save for two children in the distance surveying the carousel. This sense of understated mystery and gentle poetry was Le Sidaner's artistic inheritence from his Symbolist-inspired early years; while the highly-keyed palette, subtly worked contrasts and painterly application of pigment owed its debt to Impressionism. This dual aspect of his art was touched on by his supporter Camille Mauclair, who wrote in 1901: 'born out of Impressionism, [Le Sidaner] is as much the son of Verlaine than of the snowscenes of Monet.'