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Léon Augustin Lhermitte
Lavandieres - Barbizon Figurative Landscape Pastel by Leon Lhermitte
1922

Name: Lavandieres - Barbizon Figurative Landscape Pastel by Leon Lhermitte
Brand: Léon Augustin Lhermitte
Price: 82573.84 AUD
Availability: InStock
Rating: 5 (151 reviews)

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Signed figures in riverscape oil on canvas by French Barbizon painter Leon Augustin Lhermitte. The piece depicts a rural landscape with washerwomen in traditional Breton clothing washing laundry from the bank of the River Marne, an eastern tributary of the Seine in the area east and southeast of Paris Signature: Signed and dated 1922 lower right Dimensions: Framed: 28.5"x33" Unframed: 21.5"x26" Provenance: Societe Nationale des Beaux-Arts 1922 - No. 624 Galerie Georges Bernheim - Paris c. 1922 (likely acquired from the painter) Howard Young Galleries - New York John Levy Galleries - New York Private collection - South America Literature: This work is described on p.280, no. 702 in the catalogue raisonne of the work of Leon L'Hermitte by Monique Le Pelley Fonteny who references our work in oil and its pastel version illustrated in the raisonne Léon Augustin Lhermitte was the son of a school teacher. He painted from a very early age and settled in Paris in 1863, enrolling in the École Impériale de Dessin. His teacher was Lecocq de Boisboudran. In the early days of his career he earned a living doing illustrations for boxes of sweets and the catalogues of the cabinet-makers of the Faubourg St-Antoine, as well as publishing houses. In 1879 he went to Great Britain, to which he returned frequently. The same year he met the art dealer Paul Durant-Ruel who exhibited his works. He was one of the founders of the Société Nationale des Beaux-Arts, of which he became vice-president. Lhermitte initially produced charcoal drawings which revealed his deep feeling for nature. His first attempt, Banks of the Marne near Alfort, caused a sensation. Following this he executed canvases, showing himself to be a fine landscape artist and a skilful draughtsman. He painted scenes from rural life almost exclusively and benefited from exceptional interest generated by the prizes awarded to the works of J. F. Millet. But although he was very much affected by the work of the painter of Angelus, he himself sought only the pictorial element and not a synthetic translation. Many other French masters of the period share his completely objective vision, for example Bastien Lepage, Roll, J. C. Cazin and Rafaelli. Like them, he put into practice very early on the technique of 'clear painting' made fashionable by the pursuit of Impressionism. But this group of artists borrowed from this method only those elements which appealed to public taste, and ignored chromatic elements. Lhermitte also paid the price for the easy success of those early days. His peasants, which found general favour with the public at the time, nowadays seem rather feeble alongside Camille Pissarro's renderings of the same subject. However, in order to pass judgement on an artist such as Lhermitte, it is necessary to understand the era in which he worked, the era in which Realism was the only acceptable approach. It was in the atmosphere of the 'Théâtre Libre' of Antoine and the novels of Maupassant, Zola and their imitators that this type of art developed. In this context, Lhermitte is recognised as having painted the life of the peasants with great powers of objective observation and great insight into types and physiognomies. Nothing escaped his implacable eye and his bold and vigorous hand was guided by a lucid mind. The simplest elements of nature take on an air of true grandeur in his painting, despite their romantic and sentimental aspects. He is highly regarded both in France and in other countries by art lovers who look for nothing more than an attractive subject expertly painted. Among his most noteworthy works, outside those in museums, are: Les Halles, Washing the Sheep, Haymaking Time, and his large decorative panel for the Sorbonne, Claude Bernard. He illustrated A. Thieuret's Rural Life (La Vie Rustique). He made his debut in 1864 in Paris at the Salon des Artistes Français. He subsequently took part in numerous collective exhibitions, notably the Exposition Universelle of 1900, in which he showed seven paintings, three pastels and four drawings. His early works gained him a third-place medal in 1874, a second-place medal in 1880, and the Grand Prix at the 1889 Exposition Universelle in Paris. He received a diploma of honour in Dresden in 1890 and was decorated with the Légion d'Honneur in 1884, promoted to Officier in 1884 and to Commandeur in 1911. He was elected to the Institut de France in 1905. Museum and Gallery Holdings: Albany (Institute of History and Art): Landscape Amiens: Death and the Woodcutter Boston (MFA): Soul of the Humble Buffalo (Albright-Knox AG): Haymaking Time Carcassonne: Harvest Château-Thierry (Mus. Jean-de-La-Fontaine): View of Château-Thierry Chicago (AI): Sheafing the Hay Florence (Uffizi): Portrait of the Artist Montreal (Learmont): Ruins of Château-Thierry Moscow (State Tretyakov Gal.): Le Tréport; Small Courtyard in Normandy New York (Metropolitan Mus. of Art): Grape Harvest (1884); Soul of the Humble (1905) Paris (MAM): Jazz Quartet Paris (Mus. d'Orsay): Harvesters' Wages Paris (Mus. du Petit Palais): Les Halles Rheims: Wine Press St Louis (Washington University): Harvest (1883, oil on canvas); Haymaking Time (1891, oils on canvas, two paintings) St-Quentin: Pardon of Ploumanac'h Washington DC (Corcoran Gal. of Art): Family of Harvesters

Schöpfer*in:
Léon Augustin Lhermitte (1844-1925, Französisch)
Entstehungsjahr:
1922
Maße:
Höhe: 72,39 cm (28,5 in)Breite: 83,82 cm (33 in)
Medium:
Leinwand,Öl
Bewegung und Stil:
Schule von Barbizon
Zeitalter:
1920–1929
Zustand:
Very good original condition.
Galeriestandort:
Marlow, GB
Referenznummer:
Anbieter*in: LFA02361stDibs: LU415316440382

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