Willy Schlobach

J. Schroeder, Brussels
Private Collection, Philadelphia (and sold: Christie's, London, February 7, 2006, lot 24)
Acquired at the above sale 

New York, Bern'Art, Belgian Paintings, 1998, illustrated in the catalogue

The canvas is not lined. The colors and extremely bright and fresh. The surface is richly textured and the impasto has been well preserved. There are a couple lines of stable craquelure near the lower right corner. Under UV light certain original pigments fluoresce and there are some minor scattered spots of inpainting visible, most notably to the lower left, upper left and upper right corners, as well as nailhead sized spots toward the lower left and lower right edges. The work is in overall very good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Willy Schlobach was one of the founding members of the Belgian group Les XX, which held annual exhibitions from 1884-93. While not united in a particular artistic approach, the avant-garde group responded to and was influenced by contemporary French movements, particularly Neo-Impressionism. In 1887, Georges Seurat exhibited along with the group, and Schlobach was deeply affected by his work. He abandoned his early atmospheric style for the Pointillist technique of juxtaposing pure color in a network of brushstrokes. Paul Signac, Seurat's principal French follower, considered Schlobach to be the Belgian artist who most successfully espoused the spirit of Neo-Impressionism.

Schlobach was fascinated by this stretch of coastline seen in the present work and painted this scene several times over the period of 1880-1910. The coastline had long been a source of inspiration for writers and painters who were drawn to the powerful display of natural force in the crashing waves. Claude Monet painted the Normandy coast and the cliffs at Etretat in the late 1800s as well, particularly drawn to the unique rock formations (see fig. 1). In contrast to Monet’s quick, flickering brushstrokes, Schlobach’s early representations of this landscape were highly organized and structured in compliance with the theoretical principles of Seurat’s movement. By 1907, however, he confidently captured the dynamic play of light on the water in his own freer interpretation of Pointillism, utilizing larger brushstrokes and a subtle combination of color in a style which fully synthesized the impact of Monet.