ADRIEN-JEAN LE MAYEUR DE MERPRÈS (Belgium 1880-1958)
The Travels As an impressionist, Adrien-Jean Le Mayeur de Merprès is always in pursuit of the sunlight. As a painter-traveller, the artist is fascinated with the exotic land and foreign people. These yearnings led to the constant travels of the artist and his numerous works both in drawing and in oil. "All the documented journeys described here were undertaken by Le Mayeur after World War I. Thanks to the letters which cover the period 1927-1947 it has been possible to reconstruct several of these journeys. Information about those made between 1919 and 1927 has been taken mainly from his paintings and gouaches dated from that time. Le Mayeur was wealthy enough not to have to paint for money. He was free to choose and develop his themes as he liked, and nothing prevented him from settling in cities like Merseilles, St. Tropez, or Venice, for as long as he liked. He would choose a location at leisure, then mentally absorb the particular atmosphere at different times of the day. Then he would make numerous sketches, or even gouaches before finally turning to oil. Some studies are inscribed matin (morning) or soir (evening) at the bottom which refers to the quality of light at a particular time of the day. The family says that Le Mayeur lived according to a certain rhythm: he would be gone for a few years (usually three), then he might live in his Brussels studio at 28 Avenue van Becelaere for six to twelve months, before setting out again to look for sunlight and colour." (Jop Ubbens and Cathinka Huizing, Adrien-Jean Le Mayeur de Merprès: Painter -Traveller 1880-1958, Pictures Publishers, The Netherlands, 1995, p. 11). The quality of the light varies on the canvas as the artist travelled from places to places. Unlike the warm, glorious light of the tropic in Bali, the works from the African continent reveal a glistening effect of the sunlight that bounces off the shimmering, smooth skin of the usually voluptuous and sensuous female bodies.
ADRIEN-JEAN LE MAYEUR DE MERPRÈS (Belgium 1880-1958)

a Madagascar, Nossi Be

Details
ADRIEN-JEAN LE MAYEUR DE MERPRÈS (Belgium 1880-1958)
a Madagascar, Nossi Be
signed 'j. Le Mayeur' (lower left) and dated '1927' on the reverse.
oil on canvas
40 x 48 in. (100 x 120 cm.)
This present lot is accompanied by a certificate of authentification by Drs. Cathinka Huizing.
Provenance
Acquired directly from the artist by M. Van Waesberghe, one of the best friends of the artist.
Thence by descent to the present owner.
Literature
Jop Ubbens and Cathinka Huizing, Adrien-Jean Le Mayeur de Merprès: Painter-Traveller, Wijk en Aalburg, 1995, p. 51 (illustrated).

Lot Essay

The painter Le Mayeur is very well known by Indonesian collectors for his scenes of Bali life. However it is remarkable that his beautiful and strong works dating from his pre-Bali period are lesser recognised. As a matter of fact, in the '20s and '30s of the 20th century Le Mayeur already held several exhibitions all over Europe. His touch is of a noble grand manner and these works should be represented in the great collections all over the world.

This very rare and sophisticated painting is one of the most important works Le Mayeur executed during the travels that brought him to Africa, India, Venice, St. Tropez, Tahiti, Madagascar and many other destinations.

Besides the notable size, the colours of the work are extremely vivid. The colouring of the pink-red loincloths is so intense that it creates a stark contrast to the atmospheric brown of the skins of the women and the yellow-beige of the sand. Also the composition is very stong and almost overwhelming: two women full in the foreground of the canvas. This compositional structure will be maintained by the painter over the next years (see his works excecuted at St. Tropez and Tahiti).

Le Mayeur was clearly influenced by Gauguin who also searched for exotic locations full of sunlight and colour. Trying to achieve the subtle play of light and shade, Le Mayeur knew how to blend his extensive palette in short, thick brush strokes.

Finally it is the extreme modest way the girls look as if they are lost in thoughts. The atmosphere created for them is very different and more subtle than the more challenging way which the Balinese girls are depicted by Le Mayeur later in his life.
Drs. Cathinka Huizing


Christie's wishes to thank Drs. Cathinka Huizing for her writing of the catalogue entry for the present lot.

More from Modern and Contemporary Southeast Asian Art

View All
View All