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拍品专文
Between 1932 and 1958, Le Mayeur devised variation after variation of the Balinese garden's composition, altering the arrangement of the blossoms, increasing or reducing the amount of reflected material or the graceful dancing Balinese girls and exploring a wide array of lighting effects.
It is evident that towards the later years of Le Mayeur's Balinese period (post Japanese Occupation), the artist's surroundings have become a constant and gradually the only source of his inspirations. It was his immediate surroundings which the artist depicted constantly and portraying his only model, Ni Pollok. Many visitors have visited the house in Sanur, which was the artist's residence, studio as well as guest-house. The house has left such a deep impression on the novelist Nevil Shute that he wrote an extensive description of it in his novel, Round the bend.
'We went once or twice to a place the other side of the strip called Sanoer, where a Belgian artist was married to a very fine Balinese woman. I think that was the most beautiful house I have ever been in, the walls covered with paintings of the Balinese and their way of life, and full of Balinese young men and women so that it was difficult to say from memory which of the scenes remembered from that house were real ones and which were painted.' (Drs. Jop Ubbens and Cathinka Huizing, Adrien-Jean Le Mayeur de Merprès: Painter-Traveller, Wijk en Aalburg, 1995, p. 169.)
In his house on the beach of Sanur, he has created a perfect source of artistic inspiration for his works where he could be constantly moved to paint. 'Now that my exhibitions turned out to be a bigger success than I had ever dared hope, I organized my house exactly as I liked it. I intended to surround myself with nothing but beauty. I employed five house servants for Pollok. A couchman, a gardener, two kitchen maids and a chambermaid. Of course I have picked them myself and they were very beautiful girls in the first place. I didn't want them to be primarily servants. I wanted to have friends around us who took pleasure in their jobs. I forbade them to work in the late afternoon, during those hours I wanted them to sit around in their beautiful sarong, weaving the fabrics." (Ibid. p. 119).
The present lot contains all the quintessential elements of a work by Le Mayeur. The diligent portrayal of both material and ethereal beauty of his subjects renders such a tight composition that it is almost a struggle to read the space. Sunlight, foliage, flower and feminine figures coalesce on the surface of the painting to suggest a kind of essential presence, like some enchanting fragrance of the sensed rhythms of silence.
The authenticity of this lot has kindly been confirmed by Cathinka Huizing after first hand examination.
It is evident that towards the later years of Le Mayeur's Balinese period (post Japanese Occupation), the artist's surroundings have become a constant and gradually the only source of his inspirations. It was his immediate surroundings which the artist depicted constantly and portraying his only model, Ni Pollok. Many visitors have visited the house in Sanur, which was the artist's residence, studio as well as guest-house. The house has left such a deep impression on the novelist Nevil Shute that he wrote an extensive description of it in his novel, Round the bend.
'We went once or twice to a place the other side of the strip called Sanoer, where a Belgian artist was married to a very fine Balinese woman. I think that was the most beautiful house I have ever been in, the walls covered with paintings of the Balinese and their way of life, and full of Balinese young men and women so that it was difficult to say from memory which of the scenes remembered from that house were real ones and which were painted.' (Drs. Jop Ubbens and Cathinka Huizing, Adrien-Jean Le Mayeur de Merprès: Painter-Traveller, Wijk en Aalburg, 1995, p. 169.)
In his house on the beach of Sanur, he has created a perfect source of artistic inspiration for his works where he could be constantly moved to paint. 'Now that my exhibitions turned out to be a bigger success than I had ever dared hope, I organized my house exactly as I liked it. I intended to surround myself with nothing but beauty. I employed five house servants for Pollok. A couchman, a gardener, two kitchen maids and a chambermaid. Of course I have picked them myself and they were very beautiful girls in the first place. I didn't want them to be primarily servants. I wanted to have friends around us who took pleasure in their jobs. I forbade them to work in the late afternoon, during those hours I wanted them to sit around in their beautiful sarong, weaving the fabrics." (Ibid. p. 119).
The present lot contains all the quintessential elements of a work by Le Mayeur. The diligent portrayal of both material and ethereal beauty of his subjects renders such a tight composition that it is almost a struggle to read the space. Sunlight, foliage, flower and feminine figures coalesce on the surface of the painting to suggest a kind of essential presence, like some enchanting fragrance of the sensed rhythms of silence.
The authenticity of this lot has kindly been confirmed by Cathinka Huizing after first hand examination.