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Henri Edmond CrossEtude de travailleurs - Impressionist Figurative Watercolor by Henri Crossc.1890
c.1890
About the Item
Impressionist watercolour on paper circa 1890 by French Neo-Impressionist painter Henri Edmond Cross. The work is a rear view study of three workers in standing and kneeling positions.
Signature:
Stamped twice with the cachet of the painter lower left
Dimensions:
Framed: 9"x8"
Unframed: 5"x3.5"
Provenance:
Stamped with the cachet of the artists estate lower left (twice) Lugt L.1305a
Henri Edmond Cross (French, 1856–1910) was a leading Neo-Impressionist painter, a pioneer of Pointillism, and a founding member of the Salon des Indépendants. Born in Douai and raised in Lille, France, Cross studied law before moving to Paris to study at the École des Beaux-Arts. While in Paris, Cross began painting in the studio of François Bonvin (French, 1817–1887), and exhibiting his work at the Salons where he met Claude Monet (French, 1840–1926), Georges Seurat (French, 1859–1891), and Paul Signac (French, 1863–1935). Cross’ interactions with these painters were influential; his palette became more vibrant, his brushstrokes suggested vigorous dabs of colour, and his paintings became more entrenched with the atmospheric qualities championed by the Impressionists.
The primacy of light, the logical culmination of Seurat's and Signac's work, would accelerate the development of modern painting. Cross's open secret, 'I come back to the idea of chromatic harmonies, created from nothing (so to speak) and outside nature, as a starting point', could be seen as a step towards later Abstract art, just like the famous maxim of Maurice Denis on 'colours arranged in a certain order'. Through the intervention of Cross, the Neo-Impressionists, referred to as the dissidents of Impressionism, contributed decisively to an historic upheaval which was to challenge fundamentally the traditional notions of painting.
- Creator:Henri Edmond Cross (1856-1910, French)
- Creation Year:c.1890
- Dimensions:Height: 9 in (22.86 cm)Width: 8 in (20.32 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good original condition.
- Gallery Location:Marlow, GB
- Reference Number:
Henri Edmond Cross
Henri Edmond Cross was born in the marches of Flanders. His mother, Fanny Woollett, was English. From 1890 he chose to spend most of the year in the Var region. Signac and Van Rysselberghe were regular visitors to St-Clair. During the Fin-de-siècle years, Cross was a friend of the Anarchists, sharing their dream of harmony between man and nature, and contributed to Jean Graves’s magazine Les Temps Nouveaux. In the early 1900s he travelled to Italy and was captivated by the works of Tintoretto in Venice. However, Cross was soon overcome by poor health, suffering bouts of rheumatism and eye problems. His stoicism during these difficult times astonished his friends, who also included Roussel, Vuillard, Bonnard, Valtat and Lucie Cousturier. The latter wrote that ‘these terrible bouts of arthritis which deformed and paralysed his joints always resulted in younger and younger paintings, like acts of revenge’. Towards the end of his life, Cross visited Tuscany and Rome before returning to Le Lavandou. He died from cancer on 16 May 1910, aged 54. At the age of 25, Cross exhibited for the first time at the 1881 Salon, from then on called the Salon des Artistes Français. He showed his work under his real name, H. E. Delacroix, which he quickly translated into English on the advice of Bonvin. He then exhibited at the Salon des Indépendants from 1884, the year it was founded, having been one of its promoters. His paintings and watercolours were exhibited in 1894 at the gallery rented by the Neo-Impressionists at 20 Rue Lafitte (alongside the works of the elegiac Neo-Impressionist painter Hippolyte Petitjean), in 1896 at the Salon de l’Art Nouveau, and in 1899 at the Galerie Durand-Ruel as part of the exhibition Homage to Odilon Redon (Hommage à Odilon Redon). The exhibitions at the Galerie Druet in 1905 (presented by Émile Verhaeren), then at the Galerie Bernheim two years later (with a catalogue prefaced by Maurice Denis), were considered a triumph of colour.
It was around the time of Seurat’s death that Cross turned to Neo-Impressionism, breaking with the aesthetic principles he had followed for 10 years, adopting instead those of the group who exhibited at the Salon des Indépendants. For his friends Angrand, Signac and Luce, he brought rare sensitivity and re-introduced Romanticism to painting in these last years of the 19th century. It was in the Var, while working on sunrises and sunsets, that Cross created some of his most important works, such as Farm in the Morning and Farm in the Evening (1893), and Mother Playing with her Child (1897). Cross achieved an almost Romantic liberation of the landscape in his painting Wave. Together with Signac and Van Rysselberghe, he revealed the beauty of Provence, a beauty that, until then, had been sought by the Impressionists mostly in the Île-de-France or Normandy.
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