Edgard Tytgat (Belgian, 1879-1957)
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Edgard Tytgat (Belgian, 1879-1957)


Edgard Tytgat (Belgian, 1879-1957)
signed and dated 'Edgard Tytgat/1928' (lower right), and signed and dated again and numbered 'no. 225' (on the reverse)
oil on canvas
117 x 89 cm.
Collection le Centaure, Brussels.
Brussels, Gallerie Giroux, vente 23 Oct 1954, no. 317.
Mrs. E. De Saedeleer, Brussels.
L. Legrand, Vilvorde.
G. Van Geluwe, Brussels.
Jan Greshoff, 'Edgard Tytgat', in: Op de hoogte, Amsterdam 1929, p. 39 (ill.)
Georges Marlier, 'Autour des oeuvres nouvelles d'Edgard Tytgat', in: Le Centaure, Brussels 1930, p.120 (ill.)
Luc and Paul Haesaerts, 'Edgard Tytgat ou l'art sous le signe du plaisir', in: Les Beaux-Arts, Brussels 1930.
Paul Kenis, 'Edgard Tytgat in den Centaure te Brussel', in: Kunst Gand, 1930, p. 100 (ill.)
Albert Dasnoy, Edgard Tytgat, Brussels 1965, p. 1919, cat.no. 223 (ill.)
Willy van den Bussche, Edgard Tytgat, Oostende 1998, p. 97, no. 48 (ill.)
Berlin, Galerie Alfred Flechtheim, Edgard Tytgat, 9 February - 1 March 1929, no. 27.
Düsseldorf, Edgard Tytgat, March 1929, no. 27
Brussels, Galerie Le Centaure, Edgard Tytgat, 22 March-3 April 1930, cat.no. 5
Antwerp, Salle des Fêtes, Art Contemporain, 9-21 August 1930, cat.no. 8
Brussels, Palais de Beaux-Arts, Retrospectieve Edgard Tytgat, 21 March-19 April 1931, cat.no. 161
Brussels, Galerie Le Centaure, Edgard Tytgat, 1932, no. 389.
Brussels, Galerie Georges Giroux, Vente, 23 October 1954, lot 317.
Special notice
Christie's charge a premium to the buyer on the final bid price of each lot sold at the following rates: 23.8% of the final bid price of each lot sold up to and including €150,000 and 14.28% of any amount in excess of €150,000. Buyers' premium is calculated on the basis of each lot individually.

Lot Essay

The art of Edgard Tytgat holds an exceptional place within the Belgian art-world of the first half of the twentieth century. It can be described as a quite unusual combination of a painterly style with strong narrative elements. Well related in artist circles, he was a good friend of the influential artist Rik Wouters. As his early works clearly show the influence of impressionism, he soon developed his own very recognisable style, in which he combined his own inspiration with expressionist influences. His plasticity grew stronger and his colours darker. His style can be described as a simplification of the reality with an intended naivety. He derived his inspiration from daily life and incorporated these experiences in his own dream world. Tytgats work always has a certain poetic and playful character, soft irony, youthful courage and underlying eroticism.

The present lot L'Espionne is a good example of the balance Tytgat found between the expressionist doctrine and his own style. The work is painted in a monotonous black, grey and white palette, like several others he painted in the 1920's. Tytgat himself said that this uniformity of tone in a painting enhances the narrative effect just like in black and white photography. This manner of storytelling and the naive way of painting certainly helps creating a tension between the reality and the dream world of the artist; he is able to create a dialogue between the two. Even though it is hard to understand the full meaning, the present painting introduces us into the world of Edgard Tytgat. (A. Dasnoy, Edgard Tytgat, Brussels 1965, p. 31-32)

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