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拍品專文
When this pastel was unveiled in the Paris salon, it was rewarded with an adulation of praise from critics. A work of 'unquestionable charm' (L. Vilda, op.cit., p.2) and 'an enchantment of sunlight' (G. de Pawlowski, op. cit., p. 2), the pastel was described by Hoffmann-Eugène as being created with 'lovely softened tones that give the artist’s work a thoroughly poetic character” (op. cit., p. 1). It is perhaps this poetic character and 'very brilliant colour effect' (The New York Herald, p. 3) which led Camille Le Senne to observe this as a work which is wrapped in a 'magical mystery' (C. Le Senne, op. cit., p. 414).
Lévy-Dhurmer began his early career as a ceramicist and had his first one-man show at the Galerie Georges Petit in Paris in 1896. Following this early success, he was invited to exhibit at the Salon de Rose Croix but declined. His talent was discovered by the Belgian Symbolist writer Georges Rodenbach, a popular poet in Paris known for his book Bruges-la-Morte of 1892. One of Lévy-Dhurmer's masterpieces was his pastel portrait of Rodenbach that is now in the Musée d'Orsay, Paris. His fascination with pastel began in 1896 and lasted until the end of his life. With this medium, Lévy-Dhurmer was able to achieve a velvety soft tone that would add a dream-like mystery to his compositions.
From the turn of the century, Lévy-Dhurmer concentrated on portraying the female nude. He 'depicted nudes, very much in the turn of the century vein, modelled with a dreamy vaporousness, in an endeavor to make the female anatomy render an equivalent of the auditory impressions of Beethoven, Fauré and Debussy's music' (P.L. Mathieu, The Symbolist Generation, Geneva, 1990, p. 119). These works were characteristic of the 'artistic haziness' which was also popular in photography during the early 20th century.
We are grateful to Jean-David Jumeau-Lafond for his assistance in cataloguing the present lot. A certificate from Jean-David Jumeau-Lafond accompanies this lot.
Lévy-Dhurmer began his early career as a ceramicist and had his first one-man show at the Galerie Georges Petit in Paris in 1896. Following this early success, he was invited to exhibit at the Salon de Rose Croix but declined. His talent was discovered by the Belgian Symbolist writer Georges Rodenbach, a popular poet in Paris known for his book Bruges-la-Morte of 1892. One of Lévy-Dhurmer's masterpieces was his pastel portrait of Rodenbach that is now in the Musée d'Orsay, Paris. His fascination with pastel began in 1896 and lasted until the end of his life. With this medium, Lévy-Dhurmer was able to achieve a velvety soft tone that would add a dream-like mystery to his compositions.
From the turn of the century, Lévy-Dhurmer concentrated on portraying the female nude. He 'depicted nudes, very much in the turn of the century vein, modelled with a dreamy vaporousness, in an endeavor to make the female anatomy render an equivalent of the auditory impressions of Beethoven, Fauré and Debussy's music' (P.L. Mathieu, The Symbolist Generation, Geneva, 1990, p. 119). These works were characteristic of the 'artistic haziness' which was also popular in photography during the early 20th century.
We are grateful to Jean-David Jumeau-Lafond for his assistance in cataloguing the present lot. A certificate from Jean-David Jumeau-Lafond accompanies this lot.