Théo van Rysselberghe

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Description

Théo van Rysselberghe
PINS AU LAYET
Stamped with the monogram and dated 1912 (lower right)
Oil on canvas
30 by 40 in.
80 by 100 cm

Provenance

Private Collection, California

Exhibited

Dresden, Kunstsalon Emile Richter, Théo van Rysselberghe, 1913, no. 19
Laren, Larense Kunsthandel, Théo van Rysselberghe, 1913, no. 24
Paris, Galerie Druet, Théo van Rysselberghe, 1913, no. 21
Brussels, La Libre Esthétique, 1913, no. 277 (possibly)
Brussels, Palais des Beaux Arts; The Hague, Gemeentemuseum Den Haag, Théo van Rysselberghe, 2006, illustrated p. 243

Literature

Letter from Théo van Rysselberghe to H. Van de Velde, November 13, 1912
P. Fierens, Théo van Rysselberghe, Brussels, 1937
Ronald Feltkamp, Théo van Rysselberghe, 1862-1926, Brussels, 2003, no. 1912-024, illustrated p. 401

Catalogue Note

Théo Van Rysselberghe was one of the few followers of Seurat and Signac who fully mastered their chromatic discoveries of applying paint in small dabs of complementary and contrasting color.

Pins au Layet is an impressive example of the artist’s technical command and artistic impression showcasing his mature style. “About 1900, Van Rysselberghe’s art relaxed. The colourist had gradually left behind the orthodoxy of neo-impressionism. He was still ‘separating,’ but in a less methodical manner. His brush-stroke was becoming larger. He was manipulating the brush and matching pure colour tones to each other with a new freedom. He was moving away from the technique of light-painting while preserving its spirit; he seemed no longer to consult anything but his instinct and his senses in the choice of tone and strength of colour, and in the disposition of strokes” (Paul Fierens, Théo Van Rysselberghe, Brussels, 1937, p. 27).

Fig. 1 Théo van Rysselberghe at his easel circa 1905.