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拍品專文
By the turn of the century, Henri Le Sidaner found himself increasingly dissatisfied with urban Parisian life, and sought to find a more rural setting for his life and studio where he could design his own residence and gardens. Though these gardens and terraces of his home and surrounding village of Gerberoy dominated the artist's creative output, it also inspired one of his preferred subjects of the 1920s, the decadently arranged tablescape. Characterized by a keen attention to the subtle interplay between light, shade and color, Le Sidaner’s compositions are carefully constructed to convey a sense of serenity and tranquility.
In La table sur la cour, the artist has set up a simple table—three roses in a vase, three apples on a plate and one on the table, three jugs, and a glass—in front of an open window, overlooking the interior courtyard, offering a glimpse of the outdoors from this domestic setting. While the canvas feels fully occupied by this amalgamation of interior objects and external walls, Le Sidaner subtly plays with the colors and their intensity to create deep recession in an otherwise convoluted space. Indeed, the table and its occupants are executed in rich jeweled tones, vibrant and deep; meanwhile the window and all the outdoor structures are executed in muted pastels of purples, greens and soft pinks.
The present work was exhibited in the United States a mere three years after it was executed: shown both in New York with M. Knoedler & Co., Inc., and in Pittsburg at the Carnegie Institute, La table sur la cour, then titled La table villageoise, was a highlight of the exhibition and was illustrated in two articles discussing the show. Indeed, George Shaw noted: “Le Sidaner takes subjects that are ordinary and familiar but never just common, and then paints them in an extraordinary way, the way of the impressionist, plus the very individualistic way of Henri Eugène Le Sidaner. He leaves to others strength, brilliancy, power, and what is known these days as ‘punch.’” He is content with silence, harmony, poetic suggestiveness, and beauty.” He continued, “The visitor to the Le Sidaner exhibition is lifted out of the present work-a-day world into a country where there is quiet and peace and graciousness. In the fifteen paintings in the exhibition there is not one figure of a person. There is, however, always the suggestion that someone has just left the table or turned the path” (G. Shaw, op. cit., 1929, pp. 26-27).
In La table sur la cour, the artist has set up a simple table—three roses in a vase, three apples on a plate and one on the table, three jugs, and a glass—in front of an open window, overlooking the interior courtyard, offering a glimpse of the outdoors from this domestic setting. While the canvas feels fully occupied by this amalgamation of interior objects and external walls, Le Sidaner subtly plays with the colors and their intensity to create deep recession in an otherwise convoluted space. Indeed, the table and its occupants are executed in rich jeweled tones, vibrant and deep; meanwhile the window and all the outdoor structures are executed in muted pastels of purples, greens and soft pinks.
The present work was exhibited in the United States a mere three years after it was executed: shown both in New York with M. Knoedler & Co., Inc., and in Pittsburg at the Carnegie Institute, La table sur la cour, then titled La table villageoise, was a highlight of the exhibition and was illustrated in two articles discussing the show. Indeed, George Shaw noted: “Le Sidaner takes subjects that are ordinary and familiar but never just common, and then paints them in an extraordinary way, the way of the impressionist, plus the very individualistic way of Henri Eugène Le Sidaner. He leaves to others strength, brilliancy, power, and what is known these days as ‘punch.’” He is content with silence, harmony, poetic suggestiveness, and beauty.” He continued, “The visitor to the Le Sidaner exhibition is lifted out of the present work-a-day world into a country where there is quiet and peace and graciousness. In the fifteen paintings in the exhibition there is not one figure of a person. There is, however, always the suggestion that someone has just left the table or turned the path” (G. Shaw, op. cit., 1929, pp. 26-27).