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Henri Le Sidaner

  • Henri Le Sidaner - Les pots de faïence
    Henri Le Sidaner Les pots de faïence Signed
    Oil on canvas
    28 3/4 x 36 1/4 in
    73 x 92.1 cm
    Full details

    BF 196



    Port-Louis 1862 - 1939 Versailles


    Les pots de faïence


    Signed lower left: Le Sidaner

    Oil on canvas: 28 ¾ x 36 1/8 in / 73 x 92 cm

    Frame size: 39 1/2 x 47 in / 100.3 x 119.4 cm


    Painted in Gerberoy in 1928



    Marcel Bernheim & Cie, Paris

    Private collection, USA



    Y Farinaux-Le Sidaner, Le Sidaner, l'oeuvre peint et gravé, Paris 1989, no.614, p.237, illus.



    Cleveland, The Cleveland Museum of Art/London, Royal Academy of Arts, Painting the Modern Garden: Monet to Matisse, 2015-16, p.204, no.90, illus. in colour



    Le Sidaner developed his garden at Gerberoy over forty years, designing every detail himself.

    He stated: ‘In my morning prayers there is a grand and beautiful garden; a bay of hawthorns surrounded by trembling branches, a song of distant voices, the delightful whisper of fountains, and between the earth and the sky only the glorious sun’. Le Sidaner took advantage of the sloping ground around his house and the earthworks of the old fortress to create a garden of terraces, intimate ‘rooms’, ‘eye-catchers’ and delightful surprises. In the summer it was wreathed with roses, hanging thick from arches, as in this painting, breathing out heady scent in the warmth of the late afternoon.


    Le Sidaner evokes the fecundity of his private kingdom by filling the whole canvas with flowers and foliage. The low sun throws dappled light on the foreground wall and the ornamental faïence pots filled with geraniums. Behind them, the interweaving of leaves and flowers in the rose arbour is painted with an intensity that approaches abstraction, paralleling Monet’s late paintings of his garden at Giverny.




    The gardens of Henri Le Sidaner’s house at Gerberoy. © Marc Garanger / Corbis.




    Port-Louis 1862 - 1939 Versailles



    Henri Le Sidaner was born in Port Louis, Mauritius in 1862, the son of a shipbroker of Breton descent. At the age of ten his family moved to Dunkirk and in 1880, after the death of his father, to Paris. Le Sidaner entered the studio of Alexandre Cabanel at the Ecole des Beaux-Arts in 1884, but was more inspired by Manet than by his master’s dry academicism.

    In 1889 he moved to Etaples, where he met the painters Eugène Chigot and Henri Duhem, who were to remain lifelong friends. Le Sidaner made plein-air paintings of Breton peasants and fishermen in a subdued palette.


    In 1892 a grant allowed him to paint in Florence, Venice and Katwijk in Holland. In 1894 he settled in Paris, transferring his allegiance from the Salon to the more avant-garde Société Nationale des Beaux-Arts. In this period Le Sidaner produced paintings such as the 1896 Morning (Musée de Dunkerque) and Twilight (private collection), which combine elements of Impressionist technique with Symbolist themes. That year he signed a contract with the Mancini Gallery.


    In 1898 Le Sidaner turned decisively towards the highly individual style, building on the innovations of Impressionism, that would characterise his work for the rest of his life. In 1898 he went to Bruges with his lover Camille; their son Louis was born in Paris in October, although the couple was based in Bruges for another year. In 1899 they returned to Paris and Le Sidaner became one of the group of artists represented by Galeries Georges Petit, which would give him financial stability and remain his dealer until 1930. Henri and Camille married in 1904, the year that their son Rémy was born.


    Le Sidaner, keen to buy a country house around which he could develop a garden, was advised by Rodin to visit the terrain near Beauvais. In 1901 he rented a cottage in the picturesque town of Gerberoy (Seine et Oise). He bought it in 1904 and in 1910 greatly enlarged the house, creating a paradisiacal garden which provided the inspiration for many of his later paintings. Le Sidaner developed a poetic style of Post-Impressionism which explores the qualities of light and objects through harmonies and counterpoint of subtle tones. After 1900 he rarely included figures in his paintings, implying human presence through his interest in depicting a community of ancient houses, or a table set for tea. Le Sidaner’s works, with their evocation of mood and emotional engagement with landscape, have affinities with the music of ‘Impressionist’ composers such as Claude Debussy.


    Le Sidaner travelled in search of new motifs, wintering in Venice or London to escape the freezing cold of Gerberoy. From 1914 his family was based at a comfortable house in Versailles and summered in Gerberoy. From around 1920 his paintings employ a lighter palette and sparer, more dreamlike compositions. He was awarded the Légion d’Honneur in 1913 and the First Prize at the 1925 Pittsburgh International. Henri Le Sidaner died in Paris in 1939.


    The work of Henri Le Sidaner is represented in the Musée d’Orsay, Paris; the Ashmolean Museum, Oxford; the Tate, London; the Thyssen-Bornemisza Collection, Madrid; the Wallraf-Richartz-Museum, Cologne; the Art Institute of Chicago; the Philadelphia Museum of Art and the Houston Museum of Fine Arts.



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